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HARMONICON:
A COLLECTION OF
SACRED MUSIC,
CONSISTING OF
f||Psalm and Hymn Tunes, Anthems, &c, Selected from the best Authors; §
WITH A COPIOUS INTRODUCTION TO VOCAL MUSIC.
SECOND EDITION, IMPROVED AND ENLARGED.
PICTOU,
PUBLISHED BY JAMES DAWSON, BOOKSELLER.
1841.
PREFACE
Encouraged by the very favourable manner in which the Harmonicon was received on its first appearance, the Publisher has been induced to
offer a second, and much improved edition. The whole work has been carefully revised and corrected, and a considerable number of approved tunes
added. In other respects the work is the same as formerly, with the exception of a few alterations in one or two tunes. It is therefore hoped that
the present edition, will fully sustain the reputation acquired by the first.
The Publisher begs leave again to acknowledge his obligations to several gentlemen who have taken an interest in the success of the work,
and afforded assistance indispensable to its satisfactory completion.
■*'
ALPHABETICAL INDi^
Aaron
Abloe
Acton
Adam
America
Amherst
Arabia
Ascension -
Asher
Ashburn
Ashley-
Auburn
Bangor
Belvidere -
Berwick
Bedford
Belmont -
Bethlehem C. M.
Bethlehem L. M.
Bethel
Benjamin
Birmingham
Blackburn
Bolton
Bradford
Bridport -
Brattle Street
Bridgewater
Brixham
Broomsgrove
Buckingham
Burnham -
Burstal -
103
Canterbury
144
Caroline
205
Canterbury New
92
Calvary C. M.
45
Calvary P. M. -
185
Calcutta
42
Canaan -
216
China -
108
Clifford -
120
Compassion
209
Complaint
58
Coronation -
28
Concord C. M.
204
Concord L. M.
162
Cranbrook
37
Cyrene
49
Cyprus -
50
Daniel -
51
Daniel Street -
67
Danbury
106
Danville -
154
Delight
37
Devizes -
214
Derby
195
Desertion
196
Devotion -
29
Dismission
110
Dunbar
131
Dunkirk -
150
Duke Street
54
Eaton -
123
Ebenezer New
128
Edom -
27
Elisabeth -
47
57
66
Ellenthorpe
Elysium
Enoch -
202
140
Ephraim
Essex
175
Eve -
207
Exultation
142
Exhortation C. M.
24
Exhortation L. M.
36
Falcon Street
47
Failsworth
73
Falmouth
198
Fountain -
46
French -
52
Fraser or Cornwall
169
Francis
82
Frederickton -
157
Funeral Thought
113
Gascony -
200
Gabriel
35
Giles's
55
Glasgow S. M. -
122
Glasgow L. M.
134
Grafton
197
Green's Hundreth
182
Hallowell -
132
Hannah -
133
Hamilton
183
136
Harmony
Hindbury
152
Hinsdale -
184
Horsley
&U
1 i
74
Irish
85
Italy -
117
Joshua -
43
Josiah C. M.
104
Josiah P. M. -
171
Judah - -
203
Judgment
143
Kirsalmoor
60
Knutsford ...
88
156
Lenox - - -
138
180
Lebanon ...
191
4S
Lisbon -
30
40
Low Church -
39
99
Lonsdale - - - -
59
143
Lydia -
175
179
Majesty ....
62
210
Martyrdom
64
81
Manchester -
147
114
Martyrs - - - -
107
158
Marseilles -
178
141
Malton -
201
151
Mear ....
53
207
Mercy - - - -
79
197
Milburn Port -
56
25
Missionary Hymn*
148
90
Monmouth CM.
71
163
Monmouth L. M. -
72
177
Monmouth New
215
213
Mortality
211
23
Mount Pleasant -
78
145
Mount Ephraim -
96
?or Words to Missionary Hymn see p. 23,
Nortiiuc.
Northfield New
Norwich -
Ocean -
Old Hundred ■
Oldham
Orangeburo-h.
Orland -
Overton
Paris
Parting;
eterborough.
Piety f
Pickering
Pleyel's Hymn -
Plainfield
J 5s<_
J 88
31
7.5
80
127
J 53
217
155
75
65
116
185
218 '
SllOOi
Shields -
Shelburne
Sherburne
Shirland -
Sicily
Silver Street
Smyrna -
Solitude New
St. Mark's -
St. Barchan's
St. David's -
St. Ann's -
219
205
101
149
87
199
22
3?
40
04
TranqmUlJ
Trumpet
Tunbridge
Union Cottage
Uriel - - = .
Uxbridge
Vesper Hymn -
Virginia
Victory
69
210
172
95
3S
God,
Dying Christian
mes, drawn near to each other.
• si line, the next above that the 2d, and
....iv.e Detween the 1st and 2d line, is called the 1st
jen the 2d and 3d, the 2d space, and so on. These lines
lamed from the first seven letters of the alphabet, three
the 1st line being called G or gamma, the 1st space A,
he 2d space C, and so in order. Upon the several lines
characters called musical notes arc written, which take their
.iame from the line or space upon which they respectively
oaine
*ence no more than
„n tiiiployed to denominate musical
..^- in the whole compass of the musical scale,
..^ <- y uifferent from those which exist within the com-
^j» of one octave; all above or below being considered as a repetition
of the same seven sounds. By the eleven lines and spaces of the stave
above described, 22 degrees of musical sound, or three octaves may be
represented, which comprehend the ordinary range of the human voice
from the lowest or gravest voice of a man, to the highest or most acute
of a woman or boy. This may be called the great scale of music.
See Ex. 1.
PARTIAL STAVES.
0. As the system of eleven lines, or what may be called the great or
complete stave, is too great to be comprehended by one glance, it is al-
ways broken down into parcels of five lines, which we may call partial
slaves: and a system of five lines is what is commonly called the musical
staff or stave; upon such a stave 10 or 11 degrees of the scale may be
INTRODUCTION TO VOCAL MUSIC.
represented, which is the ordinary compass of an individual human voice.
The five lowest lines of the great stave, separated from the others, are
allotted to the gravest voices of men, and called the Bass stave : the five
uppermost lines are appropriated to women's voices, and called the Treble
stave. One line still remains, viz. the sixth or middle line of the great
stave. By combining this line with one or more of the lines below it,
and with one or more of the lines above it, so as always to make the
number five, various other partial staves are formed or drawn out of the
■4 great stave, suited to voices of intermediate pitch. Thus, by combining
the middle line with three below and one above it, (or with the three
uppermost of the bass, and the first of tin- treble stave) a stave is formed
for the middle voices of men, called the Tenor stave : again by combining
the middle line with two below and two above, a stave is formed for the
highest voices of man, called the Conlr" alio orCoioder tenor stave : lastly,
by combining the middle line with four lines above it, (or the first four
lines of the treble stave) a stave is formed to suit the lowest voices of
women or boys, called the Soprano stave.
7. Degrees of the scale, which exceed the compass of the slave on either
hand, are represented by small lines drawn where they are wanted,
named 1st, 2d, &.c. Lcger Lines above or below, and by them the serii s
is continued by spaces and lines, as in the stave itself. Notes which as-
cend above the treble stave, and are represented by leper lines and spaces
are called notes in Alt. Those which descend below the ba.-s stave, are
called Double Bass notes, and are frequently written with the double
character, as FF, EE, &c.
CLEFS.
8. The different partial staves are known and distinguished by the clef
characters prefixed to them. These are three in number, viz. the F or
bass clef; the C, tenor or middle clef, and the G or treble clef. The F
clef character is appropriated to the 4th line of the great stave, and repre-
sents F in the bass octave : the C clef character is appropriated to the Olh
or middle line of the great stave, and represents C in the middle or tenor
octave ; the G clef character is appropriated to the 8th line of the great
stave or 2d line of the treble stave, and represents G in the treble octave.
The note represented by the C clef is therefore 4 degrees of the scale, or
the musical interval of "olh above that represented by the F clef, and the
same interval below that represented by the treble clef. The F or bass
clef character placed upon the 4th line of a partial stave marks that to be
the bass stave : the treble clef character placed upon the 2d line denotes
the treble stave. The C clef character is placed upon whichever line of
the partial stave is intended to represent the middle line of the great stave.
When plai m the 4ih line it marks the tenor stave ; and when upon
the 3d line it marks the counter tenor stave ; and when upon the 1st it
marks the soprano stave. Every note placed upon the same line with
any of these clefs, lakes for its name the letter belonging to that clef: and
from it the names of the other degrees represented upon the stave may
be easily traced upwards and downwards, through the spaces and lines,
bycarryingon the letters of the musical alphabet forwards and backwards.
" 9. En Examples 2d and 3d a view is given of the several partial staves
above descril ed, marked with their proper clef characters. Ex. 2d ex-
hibits the bass and treble stave- with the clef characters prefixed upon
the appropriate lines. Musical notes are written on the several lines and
spaces in order, and below each is given its letter name in the musical
alphabet. The mid. lie line of the complete stave, or tenor clef line, which
runs between the bass and treble staves, and may be said to connect them,
appears in the example as in the first leger line above the bass, and also
as the first leger line below the treble, and has its proper clef character
prefixed. Ex°. 3d shews the great or complete stave, with the five partial
staves in their order as formed out of, or extracted from it. The lines
are drawn only where they constitute a partial stave, the rest is left blank:
it is hoped that this example will require no further explanation. It may
be useful, however, to observe, that the tenor stave is two lines of the
great stave, or the interval of oth above the bass stave ; and that the
counter is one line or the interval of 3d above the tenor stave ; also, that
8
INTRODUCTION TO VOCAL MUSIC.
the soprano stave is two lines or a 5th above the counter stave; and the
treble one line or a third above the soprano stave. The several staves
are generally denominated by their clefs, and called the bass, tenor, coun-
ter, soprano and treble clefs. Music for the soprano clef is now generally
set in the treble, which musicians call treble or soprano indiscriminately.
10. By means of the clefs, or with the help of Ex. 2d. let the student
learn to name readily the several lines and spaces, first of the treble, and
next of the bass stave, by their proper letters. The air or principal mel-
ody is generally set in the treble clef, and the bass gives the ground har-
mony or accompaniment. Although a distinct knowledge of the C clefs
is extremely useful and even indispensable to a musician ; the necessity
of being able to name their several lines and spaces with equal readiness
is in some degree superseded, by its having now become the general prac-
tice, especially in publications of church music, to set those middle parts
which are designed to be sung by tenor or counter voices, in the treble
clef. In this way the several notes of those parts arc generally represent-
ed an octave higher in pitch, than they were intended by the composer.
When, however, they are sung by the proper men's voices, they are ex-
pressed in their true pitch. And therefore those parts which are titled
tenor or counter ought to be assigned to men's voices. When they are
performed by treble voices, they not only too often overtop and obscure
the principal melody, but the inversion often produces impure harmony,
highly offensive to a cultivated ear.
NOTES.
11. Notes are characters placed on the lines and spaces; their situ-
ations determine their acuteness or gravity of sound ; and their respective
forms, their proportional duration. See Ex. 4.
12. To each of the several denominations of notes helongs a character
of silence called a Rest, which is equal to its corresponding note. A Dot,
or point, after a note or rest, makes such a note or rest half as long again.
See Ex. 5.
INTERVALS.
13. An interval is the distance, or difference between any two sounds
in point of gravity or acuteness. The intervals between the contiguous
degree of the proper musical or diatonic scale are of two dimensions, called
tones and semitones, the former being considered double of the latter;
and the essential constitution of that scale requires, that two tones or
three tones alternately, shall be followed or separated by one semitone.
In the natural or unaltered scale, the interval between B and C, and also
that between E and F, are semitones. The other contiguous degrees,
viz. CD, DE, FG, GA and AB, are tones. See Ex. 0. The intervals
of music are denominated by the number of contiguous degrees of which
they are composed, including each of the extreme terms. Thus the inter-
val between C and D, or D and E, or any two contiguous notes is called
a second — from C to E, or A to C is called a third — from C to F, or G
to C, a fourth — from C to G, or from A to E, a fifth, &c. Sec Ex. 7.
14. These intervals have distinctive appellations, according as they
are differently composed of tones and semitones. Thus the 2ds CD or
DE, which are at the interval of tone, are called greater or major 2ds ;
EF again or BC, which are semitones, are called lesser or minor 2ds.;
In the same manner 3ds, which are composed of two tones, as CE or G
B, are called greater or major 3ds, and sometimes with less propriety
sharp 3ds ; while 3ds which are composed of tone and semitone, as AC
or BD, are called lesser or minor, and sometimes flat 3ds. We have in
like manner major Gths, composed of four tones and one semitone, as
CA; and minor Gths composed of three tones and '.wo semitones, as EC.
Again when 4ths are composed of two tones and one semitone, as CF,
GC, they are called perfect 4ths ; when they arc composed of three
tones, as FB, they are called major or sharp 4ths, but most properly
tritones. Lastly, 5ths, which are composed of three tones and one semi-
tone, as CG, AE, are called perfect or harmonious 5ths. Those again
which are composed of two tones and two semitones, as BF, are called
imperfect, inharmonious or false 5ths.
INTRODUCTION TO VOCAL MUSIC.
MODES.
\ti. The first or lowest note of a scale of octave is called the ground
note or fundamental of that scale, and also the Key note of the music
which is composed in it. It is the last bass note, and generally also the
first bass note of every regular composition. From that note the several
degrees are numbered in order ; the degree next above it being called the
2d of that scale, the next to that the 3d, and so on to the octave. In ev-
ery scale of octave, two of the contiguous degrees must be semitones, and
all the others tones.
16. There are two forms of the scale of octave, or two different ar-
rangements of the tones and semitones, according to which all regular
music is constructed ; the one called the Major, the other the Minor
Mode. The most striking difference between them, and that which gives
them their respective denomination, lies in the 3ds. In the major mode,
the 3d to the fundamental is a major 3d, composed of two tones ; where-
as in the minor mode, it is a minor 3d, composed of one tone and one se-
mitone. See Ex. 8. The constitution of the scale of the major mode
further requires that the semitones shall subsist between the 3d and 4th,
and between the 7th and Sth of the scale, or that the arrangement shall be
two tones — semitone — three tones — semitone. The regular constitu-
tion of the scale of the minor mode requires, that the semitones sub-
sist between the 2d and 3d, and between the 5th and 6th of the scale, or
that the arrangement be tone — semitone — two tones — semitone — two
tones. As the natural semitones of the scale are EF and BC the above
arrangements can only be obtained in the natural or unaltered scale,
when C is taken for the fundamental of the major, and A of the minor
mode. When any other note is taken for the fundamental, it is neces-
sary, in order to have the'proper arrangement, that one or more of the
degrees be altered : either sharpened, that is. raised a semitone ; or
flattened, that is, lowered a semitone. See transposition (37.)
17. Ex. 9th exhibits the major scale of C and the minor scale of A.
In ascending the minor scale, it is usual, for the purpose of obtaining a
2
more satisfactory termination upon the octave, to sharpen the 6th and
7th, as in the example, which brings the semitones to lie between the 2d
and 3d, and between the 7th and 8th.
TIME.
18. Time is the length or duration of sound, assigned to each denomi-
nation of notes, the semibreve being the longest in modern use, is made
the standard, and all the others take their proportions from it. See Ex. 4.
It is of the utmost importance to be acquainted with this essential quality
of music, as it is one of the grand critera, by which we judge of the mer-
its of any musical performance.
19. Time is divided into three Kinds, common, triple and compound.
These are again subdivided into several Moods and the characters which
represent them are placed at the beginning of every composition after the
clef. See Ex. 10.
20. The attentive student will perceive, that each of the Common Time
moods has an even number of notes in a bar, viz. 2 minims, or 4 crotch-
ets, &c; and that Triple Time moves by odd numbers, viz. 3 minims, 3
crotchets, &c. in a bar, or other notes to that amount. The moods, ex-
pressed by figures, refer to the semibreve; the upper figure denotes the
number, and the under figure the quality of notes in a bar. Thus 3-2
signifies 3 halves of a semibreve, or 3 minims ; 3 4 signifies 3 fourth par^s
of a semibreve, or 3 crotchets ; 6-8 signifies G eight parts of a semibreve,
or 6 quavers, &c. in the bar.
21. Accented notes are those parts ofa bar which require the great-
est stress of the voice in their performance, and which regulate the stroke
of the hand in beating time. In common time of four crotchets in a bar,
the first and third are accented, and the second and fourth are unaccented.
When the time is two measures in a bar, as minims or crotchets; then
the first is accented and the last is unaccented. In triple time of three
crotchets, the first and second arc accented, and the third unaccented.
22. Beating of time is an operation of the hand or foot ofa perform-
10
INTRODUCTION TO VOCAL MU&IC.
er, to give notice of the time to the other performers in a concert, &c.
This is always done by the leader or conductor, and consists of a regular,
and unerring motion, alternately up and down. The hand which is gen-
erally used in vocal performance, is always once down and once up, in
each bar ; namely, down to the accented and up to the unaccented parts.
In slow movements of four crotchets in a bar, the beat is sometimes per-
formed twice in a bar, that is to each accented note.
23. Syncopation is the connection or binding the last note of one bar
with the first note of the succeeding one, by means of a slur over the bar
so as to make but one sound of both notes. In old compositions this is
frequently done by drawing a bar through a large note; or, if the note is
dotted, by placing the bar between the note and its point, and a slur
drawn over both. Sometimes we find one or two bars of a composition
syncopated by the insertion of long notes between shorter ones, as crotch-
ets between quavers, &c, in which case, the performer has to drive the
crotchets in the middle, as if they were two quavers bound together.
Hence they arc called driving notes. See Ex. 15, No. 2.
SHARPS, FLATS, AND NATURALS.
24. A Sharp, placed before any note, raises such note, and all other
note's of the same name that come after it in the same bar, a semitone
higher than its natural sound.
2.>. A Flat is the reverse of a sharp, as it sinks any note before
which it is placed a semitone lower, and affects all of the same name that
come after in the same bar.
20. A Natural counteracts either flat or sharp, and reduces the note
to its primitive sound. When sharps or flats are placed at the begin-
ning of a composition, they affect all the notes on the lines and spaces
on which they are placed, and their octaves throughout, unless counter-
acted by a natural. For the order of sharps and flats see Ex. 12.
BARS, PAUSE, SLUR, &c.
27. A Single Bar is used to divide a musical composition into equal
portions of time.
2S. A Double Bar marks the end of a strain, or the conclusion of a
piece.
29. A Dotted Bar denotes, that the strain, on each side of the bar is
to be repeated. When the bar is dotted on one side only, then the strain
on the side of the dots is to be repeated.
30. A Sign generally refers to the words ; when a line or part of a
line is to be repeated to the other notes.
31. A Pause renders a note longer at pleasure ; and, in certain cases,
the composer expects some embellishment from the performer.
32. A Slur signifies that all the notes encompassed by it, are to be
sung to one syllable.
33. A figure 3, placed over or under any three notes of the same kind,
denotes that they are to be performed in the time of two ; these are call-
ed triplets. The figure G, placed over or under any six notes, signifies
that they are to be performed in the time of four.
34. A Direct at the end of a stave, shows that the piece is not finish-
ed ; and directs the eye to the first note of the following stave.
35. A Brace serves merely to connect so many parts as are to he
performed in harmony at the same time.
30. A Close, after a double bar, denotes the final conclusion of the
piece. For the thirteen foregoing characters, see Ex. 11.
TRANSPOSITION.
37. Transposition is the art of removing a musical composition from a
higher to a lower key, and inversely. In order that the transposition
may be correct, all the "intervals in the adopted key must be exactly the
same as in the original ; that is, the semitones must stand in their prop-
er relation to the key-note, viz. between the 3d and 4th and between the
INTRODUCTION TO VOCAL MUSIC.
11
7th and 8th, in the major mode; and between the 2d and 3d, and the
5th and 6th in the minor. See major and minor scales Ex. 9th. Any
o'„her arrangement of the semitones than this, will only " untune nature,
and render her harsh and disagreeable." If therefore we would trans-
pose a tune in the key of C, one note higher, we must remove each of
the semitones one degree higher, in order that they may preserve their
proper distance or relation to the adopted key of D, which is effected by
sharping F and C. In the same manner, if we would transpose a tune
in the key of C a full tone lower, we must also remove each of the semi-
tones a degree lower on the scale, which removal or transposition, is ef-
fected by flatting B and E. For the sharps or flats necessary to form
any other key in common use, see Ex. 12.
MUSICAL GRACES.
38. Musical graces are embellishments intended to give more expres-
sion or elegance to a particular passage. Those in most common use
are the following.
39. An Appogiatura, or leaning note, is a grace prefixed to the note it
is intended to embellish. Its time is taken from the note to which it be-
longs, and, in general, is half of its duration ; more or less, however, ac-
cording to the expression or spirit of the passage. "This beautiful
grace may be oftener used than any other, without tiring, and will al-
ways have a pleasing effect."
40. A Turn is an embellishment consisting of the note on which the
turn is made, the note above, and the note below it, which is generally a
semitone. There are two kinds of turns ; the Common and the Invert-
ed; the common turn begins on the note above, and the inverted turn on
the note below. f
41. A Shake is one of the principal ornaments in music. It consists
in the alternate reiteration of two notes, comprehending an interval not
greater than a tone, nor less than a semitone. When the shake is per-
formed on a tone, it is called open, and close when upon a semitone. To
acquire this grace, it must be practiced daily, very slow at first and quick-
ening by degrees, till the voice acquires flexibility. " The shake should
not be too often heard, nnd never too long, nor ever on holding notes, as
there the Mezza di voce* claims the preference, for where passion speaks,
all shakes and graces ought to be silent, leaving it to the sole force of a
beautiful expression to persuade."
42. The Swell and Diminisii are two graces, though often used as
one. The swell begins soft and ends loud ; the diminish begins loud
and ends soft. When used together, the voice begins soft, increases to
the middle, and gradually diminishes to the end. This grace is pecu-
liarly expressive in long sounds, and is generally marked by the Italian
words crescendo and diminuendo.
43. Transition is the softening of a disjunct interval by the introduc-
tion of intermediate sounds; it is frequently used in thirds and filths, it
beinc; difficult to use it in greater intervals.
44. Anticipation is an ornament very frequently used by good sing-
ers. It is performed by sliding from one note to that which follows it, on
the syllable, ami during the nine of the first note; but the effect will be
completely lost if the singer does not make the leap very soft ami clean,
without touching any ot the intermediate notes. This grace may be
used on any interval of the octave.
45. Staccato marks, over or under any number of notes, signify that
they are to be sung in a distinct and animated manner.
Mi:zzo Staccato, signifies Zeiss staccato, and is to be performed with
less spirit but more feeling, than the former.
For the above graces, see Ex. 13.
46. Lastly, upon this subject let me observe that graces of every
kind .-hould be used sparingly, and whenever introduced, they ought to
proceed from the character and sentiment of the music and poetry.
•" Mcssa di voce is the putting forth of the voice, and letting it swell by degree*
from the softest piano to the loudest forte and from thence returning, with the same
art, from forte to piano.'1'' See swell and diminish.
12
INTRODUCTION TO VOCAL MUSIC.
The student ought first to sing with plainness and simplicity, avoiding
all ornaments, till he is sufficiently qualified to use them; and then he
should be very cautious that they are not improperly used ; for if the
composer has written with taste, it is more probable they will detract
from, than add to the beauty of a line composition.
GENERAL DIRECTIONS.
47. After the learner has made himself perfectly master of the fore-
going instructions, let him next attend to the first lessons for practice.
Great care must be taken that those lessons (trifling as they may ap-
pear) should be sung in just time ; for if the ear is not very correct, and
a strict attention paid to the proper intonation of the voice, such habits
may be contracted as may afterwards prove very serious obstacles to his
future advancement.
48. When the proper management of the voice has been acquired,
the student should next apply himself to what may be called the practi-
cal study of time. Now the general rule to lie observed in keeping time,
is, that all notes of the same character or kind, have precisely the same
duration ; and whatever time is given to one bar, the same time must be
strictly and rigorouslj preserved in every succeeding bar throughout the
same movement. This can only be done by a steady attention of the
ear to the comparitive durations of the notes, which will be easily dis-
tinguished after having fixed on a given time for any note. Thus, if
you allow four seconds to a semibreve, or while you can moderately
count four, it is evident that the time of a minim will be two seconds;
the time of a crotchet one second ; a quaver half a second, &c. Thus,
everv tune in common time may be measured by a crotchet, counting
(ment lly) one, two, three, four, in each bar.
49. In triple time, every bar is divided into three measures ; the per-
former must count one, two, three, in each bar. In many cases, howev-
er, from the variety of notation, it is necessary to reduce the bar to its
lowest denomination of notes. For a further jllustration of counting
time, see lessons G and 7.
50. Distinct and accurate enunciation of the words sung should be an
object of particular attention to the singer. The great excellence of vo-
cal above instrumental music is, that, by the varied and delicate inflec-
tions of the human voice, it can convey more perfectly to the hearer the
sentiments which the words express; but this excellence will not be per-
cieved by the hearer, and consequently, the pleasure that arises from it
will be lost to him, unless he is sensible of the correspondence between
the music and the words, which he cannot be if the words are not dis-
tinctly uttered.
51. When several performers are employed, it will considerably hurt
the effect, if the same syllable is pronounced differently by different per-
sons ; uniformity in the pronunciation should therefore be attended to ;
and the more proper and correct the pronunciation is, it will no doubt be
the more agreeable.
52. In singing it is of importance to open the mouth freely, though
not too wide ; this will prevent that most unpleasing of all habits, sing-
ing through the nose.
53. All affected gesticulation should be avoided. Gesticulation of
any kind is no addition to graceful singing ; least of all to solemn devo-
tional music. It only betrays the self-conceit of the singer, and infallibly
exposes him to the contempt of persons of. taste and judgment. Tosi,
an Italian writer, recommends singing before a mirror in order to correct
any bad habits.
54. Low notes should be firm and steady- Great care is necessary in
uniting the natural voice with the falsetto, or feigned voice, so that they
may not be distinguished. If this is not attended to, by passing smooth-
ly and gently over the division, or where the break is, the voice will lose
much of its beauty, and the effect will be very disagreeable. The high
notes should not be sung too strong, but firm and sweetly, without any
tremulous or quivering motion of the voice.
55. In compositions for more than one voice, the several parts should
INTRODUCTION TO VOCAL MUSIC.
13
be sung with an equal degree of forte or piano. No performer should
deviate from what is written, the introduction of any arbitrary flourishes
will interrupt the harmony, and spoil the effect of the piece.
56. The manner of singing should correspond with the particular style
of the composition. The animated, the serious, the plaintive, the ten-
der, the cheerful style, requires each its peculiar manner or mode of per-
formance. The thus accommodating the manner of singing to the style
of the piece, will mark the taste and feeling of the performer ; and, if
done without the appearance of affectation, it will add much to the beau-
ty and effect of the music.
Sacred music is calculated to elevate or to soothe the mind ; to inspire
devout and reverential affections ; and, in a word, to awaken all the finer
feelings of the soul. Simplicity of construction, sublimity, or tenderness
of expression, should be its distinguishing characters. And, as its appli-
cation is to the most sublime of all purposes, it ought ever to be per-
formed in a simple, chaste, and dignified manner.
If the pupil has received from nature a correct ear and a musical
genius, by attentive perusal of the foregoing instructions, by diligent ap-
plication, and determined perseverance, he may surmount every obstacle
in the way of improvement, and will find the future progress to musical
excellence easy and pleasant.
AN EXPLANATION OF VARIOUS TERMS USED IN MUSIC.
Adagio, very slow and solemn.
Ad libitum, at pleasure or discretion with regard
to time, introducing in certain cases an em-
bellishment.
A tempo, in strict time.
Affectuoso, in an affecting or tender manner.
Agitato, agitated ; with passion or fire.
Allegro, brisk, lively.
Allegretto, rather fast.
Andante, distinct and moderately slow.
Andanlino, slow and expressive.
Calando, diminishing by degrees the sound, or
slackening almost imperceptibly the time, or
both.
Con espressione, or con anima, with expression,
with passionate feeling, where every note has
its peculiar force and energy, and where even
the severity of time may be relaxed for extra-
ordinary effects.
Con spirito, with spirit.
Con moto, with a certain degree of vivacity.
Crescendo or Cres., to increase the sound.
Cantabile, in a tender, soothing style.
Diminuendo, or Dim., diminish the sound.
Dolce, sweet, with taste, now and then swelling
some notes.
Da Capo, or D. C. to return to, and end with
the first strain.
Forte, For., or F., loud.
Fortissimo, Fino, or F. F., very loud.
Forzando, or Sforzando, or Fz., or Sf., to force
or give emphasis to one note.
Grazioso, in a graceful or elegant manner.
Largo, slow.
Lento, a degree quicker than largo.
Larghetto, a degree quicker than lento.
Maestoso, majestically, with elevation.
Mesto, in a melancholy style.
Mezzo Forte, not so loud as forte.
M'zzo Piano, not so soft as piano.
Piano, Pia, or P., soft.
Pianissimo, Pmo., or P. P., very soft.
Presto, quick.
Prestissimo, very quick.
Rallentando, or Ritardano, gradually slackening
the time.
Hinforzando, or Rinf., to swell 2, 3 or 4 notes.
Sictliano, a slow graceful movement.
Smorzando or Smorz., extinguishing gradually
the sound.
Tacet, silent.
Tutti, full, altogether.
Vivace, lively or merrily.
Vigoroso, with strength and vigor.
Void, turn over.
Volti subito, turn over quickly.
14
Ex. 1. The Great Scale.
INTRODUCTION TO VOCAL MUSIC
EXAMPLES.
Ex. 2. The Great Scale divided into Staves.
s— A-
Ex. 4. Notes, and theiu Relative Pboportions
— t — p cr—r-w—m-~m— m-Y»-m'M99'99p^9 9p^\99999mm9M99MTmqi^XMZ
1 Semibreve equal to 2 Minims or 4 Crotchets or 8 Quavers or 16 Semiquavers or 32 Demisemiquavers
**:eBfr0pr_lw9:W-9:mm^^
Notes and Rests.
Ex. 5. Dots and Rests.
Dotted Notes.
Dotted Bests.
=2=zi=2Z-i:pzz:i:*zz:i:pzz=r_p— ztisziszpzjsii:^
INTRODUCTION TO VOCAL MUSIC
15
Ex. 6. The Natural or Diatonic Scale. Ex. 7. Intervals. Fv ft a
iix. 8. Analysis of Major and Minor Thirds.
^"===^q=g=;===FF-=-T"-:T==q:i~-TT---^T- r ^J^nntanes. Minor 3d, Semitones.
Tone T. S-, T. T. T. S, '2, "I, * * ^ « ^^V^^^^^^
EX. 9. AsCENDINO AND DESCENDINO ScALES IN THE KEVS OP C MAJ0R AND A MmOT
Key note. 1 2 3' 4 5 6 7 J 8 8' 7 6 5 4? 3 2 "f" , „ , „ •*-- ' ~ H Z=±
1 2| 3 4 5 6 7J 8 8 7 61 5 4 3* 2 I
Ex. 10. Common Time Moods. Triple TiM£ m
Allegro.
a j • Iriple Time Moods. r«i«,««™ ht
Adagio. Largo. Alle*™ aj ■ t Compound Moods,
■-1-f-^r Adagt°' LarZ°- AlleSro. Largo
Ex. 11. Miscellaneous Characters.
4 ^^E!EEEgEEEElEEEEk=^^i=|;iSl^Ei^^gi§^g
16
INTRODUCTION TO VOCAL MUSIC.
Ex. 12. Transposition of Major and Minor Keys. The Figures point out the Chromatic or Semitonic Progression of the Keys
Major. 8 3 10 5 12 7 Unisons. 7 2 9 4 11 6
G D A E B F# Gb D[> Ab
it Unisons.
C
Minor.
D A E B
E?
B>
EIE?EEffl=E|?iz~ j5BE=l!^^
;E
F#
c#
D#
B>
Appogiaturas.
G# D# Et>
Ex. 13. Musical Graces.
Turns. Staccato Marks.
Transition.
Written',
thus, i
•3 T 3
3
*— _
thus, gdjsEEfa^ 1
Anticipation.
Shake Minor.
hr
Swell. Dim. Cres. Sf Dim.
Shake Major.
-»•-
i
JZJ 1-| 1— f— l— P — !—(—(— | — )_j — | — ^( J- j-
P=
^
INTRODUCTION TO VOCAL MUSIC.
Ex. 14. Lessons for Practice.
17
~9~
C T> 1?. v r* ■ - ^ * it-
Lesson 1.
j. £ a £ * 5_ _6 7 8 8
T D E F [G a B C C~ « r^ ~ —^-^-^-^--i^1
y> CCBAGFEDC
Lesson 2. jfoaHals proved.
fc|Z3f~ ri-1-?-3'-±AAj , I 234 507*8 _ _
Cd E c E C d o F 8 F 8 d c f G #"« iR . r _ A lF_ iR " "7 *" -5* H*=tt»_
C d E
12 3
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Lesson 3.
C G C A C B C C C B C A C G C F C E CD C T
18
INTRODUCTION TO VOCAL MUSIC.
Lesson A. Thirds proved.
1 _2_ 3 _1_ 2_ 3 I_r_3. L~_3 123 123
VdECEDcFDFEfGEGFgAFAGaBGBAbC A C
_J__ 2_ 3 1__ 2_ 3 X _-._?_ * _?__?_ 2 ?. iL 12 3
Hzzz:zz:z:i:L:zzz:irz:zz:?:i:Lzz?:&
CbAC ABaGBGAgFAFGfEGEFcDFDEd<f~E "<f~
g *■ a r t» t is ti js r e v r u ; a c
Lesson 5. Fourths proved.
1234 1_E_?_4 1 5_ 3__ 4 X
(JdeF CFDefG DGEfgA EA Fg
_1__ 2 34 L_2_ 3_ 4 1 2_ 3_ 4 1 '__
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CbaGCGBagFBFAgfEAEGfeD GD FedC F
Lesson G. Adagio.
down up d a
^=T-=i=s=f=^=©=}~=!=i=zj:zz(5ziz3zzzpzF[|;—
:2zz-z=zzzcziz2zzfzz±z?zzzzzzzztziz?zzz:p:it!:zz:
F g a
JL 2 3
E2EEEE3E: J: "i^zzg:: z^ziiEiiz:^1: ' ,° J f^-j— j- ■ [ Id "Nc^f""?
a B
3 4
G
1
C
4
d u d n
du
d u
d u d u
d u
c
da
1 2 & 3 4
Lesson 7. Larso.
1 & 2 & 3 4
2 &. 34 1&2&34
d u d
3 & 3 4
1
2&34 12&34
d
1 & 2 & 34
s •■« — r->— i77' ' > ill' ~T iii1 i-h — =?-i — t "* « J ^irt~l~^l^T' ' I —■ «— T r TP-
123 4 5 6 123 4 56 12 3 4 5 6 12 3 4 56 123 4 5 6 12 & 3 4 5 6 1 2 34 56 1234 56
No. 1. A Division hi Triplets.
INTRODUCTION TO VOCAL MUSIC.
Ex. 15. Exercises for the Voice.
19
:-=z^^z=i-i-*^i«^*:i:**p=-#-=iiii==-z:i:
■^--l-*-#+"r*f-rH-r- " — I — — — I — (— i — » — "r ^-hh — 0*0-\
_**#iazp:
m*0
liigi^ife^
On the light fan tas
tic toe.
No. 2. A Division introducing a passage of Syncopated Notes.
Syncopation.
.3:_fB-a_zi-i-p •_»_»_■ •_f__ rzi-P— p.. .+.— P-p— #.. -»_Br_q-i.^_ # • zrzpzjr. 4__ff_ui 1 — * C3- — --•-•-"-•-1
He-1 — 1-#— {-^■■^■.■fiiii; -^4""F'l t |*:l~-'*"g-B--»*-T-f--1 — »— f-#— t- r TL ' -»IW;,,g |V— t— - -| ■ #-*-#-*-! i I i j
And shout
i=p:
the glories of the plain, the glo
;z*zfzi:T— -»-T-«-#-
, :?*
of
the plain.
No. 3. J. Division in_Triple Time toith Syncopated Notes.
'Twas like the roar
IVo. 4. Example for the practice of the Shake
Syncopation.
W0W- -0-
i:pi#:K:
r..^±t:z:i
ing sea.
=§§E!£W5?S!!2*2S3Hsfe^
u iT~r : zzizzzz*:
_ ZJ1!
:#z:
._p — ■
a ~L~*.~* **• ~~
?zznzb:ztz=t:i:bzzzz:±:b:zzEztt=i-t=--==:i^:zpzEt:"-T^zzzz:+-
tr_ PJ_ „,_
I
20
Space above
Fifth line
Fourth apace
Fourth line
Third apace
Third line
Second space
Second line
First space
First line
Space below
Tenort CouJitcr and Treble.
GAMUT.
G O Sol
— F— O Fa—
E O La
i:
D— C— Sol-
C C Fa
B— C— Mi
A C La
-G— C— Sol
F C Fa
— E— c— La —
D C Sol
Space above
Fifth line
Fourth space
Fourth line —
Third space
Third line
Second space
Second line —
First space
First line
Space below
Bass.
&
B o Mi
— A— ~— La
G C Sol
— F— C— Fa-
E O La
A
G— O— Sol
F O Fa
D— O— Sol-
C D Fa
B^j-Mi
D La
Words to MISSIONARY HYMN. For Music see page 71.
1 FROM Greenland's icy mountains,
From India's coral strand,
Where Afric's sunny fountains
Roll clown their golden sand ;
From many an ancient river,
From many a palmy plain,
They call us to deliver
Their land from error's chain.
2 What though the spicy breezes
Blow soft o'er Ceylon's isle —
Though every prospect pleases,
And only man is vile ? —
In vain, with lavish kindness,
The gifts of God are strown ;
The heathen, in his blindness,
Bows down to wood and stone.
3 Shall we, whose souls are lighted
By wisdom from on high —
Shall we to man benighted
The lamp of life deny ? —
Salvation ! — oh, salvation !
The joyful sound proclaim,
Till earth's remotest nation
Has learnt Messiah's name.
4 Waft — waft, ye winds, his story ;
And you, ye waters, roll,
Till, like a sea of glory,
It spreads from pole to pole ;
Till o'er our ransomed nature,
The Lamb for sinners slain,
Redeemer, King, Creator,
Returns in bliss to reign.
THE HARMONICON.
tr
laz^zlzazffgzlzBzp-
ztzr:
WIRKSWORTH.
fr_
:s>:
S. M.
morning flow'r,
1t
If one sharp blast sweeps o'er the
field,
It withers
hour.
tr
Our days are like the grass, Or like the
:zzczqz:#z:iziz-zzzzizzzrz2z:'z:*ziz2zz^iTZ2zr =— iz=i=rqi3Zi:zz2*zzzzi |=z
w^^^m^^^^^mm^^m^^mm^m
WALSAL.
C. M.
* — rr~"i--^rrz=T'\ — di „ 1 pp- i • i3=±£tozqr=
— rr\ — rTTi HpTT I H^=^lm^=^¥=FzzB^z^TTlJhB 'I — T===X3=r. ~i:cqiq
^z±if=:?;k€zf;±^±€:i:Ezt:zztlt:=:t;±-pzz?:±:— E:zztz:J:C:ztizi:t=-^it=:=^i*^E:~pi^-tPi^€±?:
::ztzzzEpzzg:pez:^i:jzz^pzr:z^
f^-rp^±=\i~-TV^=X^-A J | ^=z=l=i4^=i±^zz=ipzzz^igiHpEEEf J"" — h~j£zi=^zE4:^iz==tz=4Ez:1zz^zPE
U - nite with those a - bove : In solemn lays to praise their King, And sing his dying love.
tr
Let saints be - low, with sweet accord,
.^:i:-z:d:kz-Z2:i^z:z:i:zz£zz^ }m»-T-
.:-z2:J.fz:^^dz-t:|t^z:
-£>-•"
St. MARK'S.
C. M.
iJ^rzzrrziiz^zzzirz^z^
zzznz:z3iLzczLzziz??z*ii— ;fcJzzzz^^
-^ #-T— (2-«- #T-2-r -_.
Hark! from the tombs, a doleful sound, My ears at - tend the cry; Ye living men, come view the ground, Where you must shortly lie.
fezzzzizzqzzjzai^zziqzzqizzf— zi^
:3z^t?zzbrz:Et5^f?z^
\^E*^^m&&gm^^EFf%&?F&^^m
HINSDALE. C. M.
HOLYOKE.
23
^zzTzzziizz fcztzzL:zl?z2i?z:Eizztizz? i--:t:t=z=i=z:tzzt=?:ib=tzt.*±=^z=r:fz?— f:itz*=?z*zi:t=U?ifz?:i~zK
Thy courts immortal pleasure give, Thy, &.c.
P+ mm t 0-0-0-0T Q- ,^P+*-0T — 0-t-C-m—
And raise me to thy throne; Thy courts immortal pleasure give, Thy pre - - sence joys unknown
r.T^-Sr^-T-
Thou wilt reveal the path of life,
Thy courts immortal pleasure, pleasure give, Thy pre
sence, &c.
rf^ta*— — -T-
Thy courts immortal pleasure give, Thy, &c
WATCHMAN. S. M.
1r
Thy, &c.
P
izzrzzZzp:
-0-
:tz:
— H — r-t-| — t — Hr-i — I — rrf — gg~t — r — -"l—i r ' r~" # t *~_~/~~: ^f-l-g f'-J-; — rT~z_:T^:Ez
-*-#T
To thy Al - mighty love, What honours shall we raise. Not all the raptur'd tongs a - bova, Can ren - der eqial praise.
ffizz^rf"-^--* :H--H^7-^^-t-H+-rHr1 I J-^-*-*—*-**— \ * m • * j 1 1 -i— {J4 ' j ^*\6d \ c f*
24
COMPASSION.
S. M.
Let licartg and tongues u - nite, And loud thanks-g'iT - ing raise, 'Tis
§:#^3i=^^=i=~iz==iz=r^^p===;=l==!=— izq"zZzq:izzz^zzzz:iz^zzz|:z?_z
:zzz4z"zzz±ztzzt-tz±zzz*z*z?z^-tziz?zz3zi:#z*=-Z?:iz?iEzzzz3ztzzLztzzz
liiiiii-ii ^ " *
izizdziilzTiizt^zizzrziiCZ
izt:zL:z*:5iz:pz:tzizpzz:pzz]
Ez!EziEf:z£E^~EEzE5E3
duty, mingled with de - light, 'Tis
-G-
1 ,_ZJ 1 \—a—- _
" '-*7~W — J|~*~"**"| "*' "*f ZT#ZI
zzjzzzz
^•;iEEEt=E
:zzc:
izzt
w.
tzz
_jz:pz:*z:-zjz:zzizt=:p:
;zz*p
v
— #-# f* r* V 1* 1*--
» J r J r=?=f=T=?=
:*zzz*zzz*zzz^zzizzz2:
:o:
0 — ^ Z_z — zrtzz • — •*— ■ h-
__u._g -g- _^_ _:s'_ * "f~ _. ^ — N
da - ty mingled with de - light, To sing the Sa - viour's praise.
-*
HALLOWELL. C. M.
MAXIM.
25
-/-9-#-
Far from the tents of joy
mm
and hope, I
As on some lone-ly mountain top, The spar-row tells her moan,
Far from
Far from the tents of joy and hope, Far, &c.
the tents of
Far from the tents of joy and hope, I sit, &c.
rS
sit and grieve a — lone.
w—
'_pzi*~*z5irj==nz=:rzz
joy and hope, I sit and grieve a - lone, Far from the tents of joy and hope, I sit and grieve a
- lone.
E^^^^^^^^^^gg^gpp=p=f3fT^^=|fS=j=
1*1
III?
I°!i
mm
my*
26
NEW WIGAN. S. M.
Great King my Shep-herd is, I shall be well sup-ply'd, 1 shall be well sup-ply'd, Since he is mine and I am his,
Great King my Shep - herd is,
I shall be well sup-ply'd, Since he is mine and I
am Ins,
Great King my Shep-herd is, I shall be well sup ply d be well sup - ply d; Since he is mine and 1 am his,
^^iil^IiaigiiilSiiiiiii^ii^iiiii
Great King my Shep-herd is, 1 shall be well sup-ply'd; Since he is mine and I am his, What
What can I want be -side, What can I want be - side, What can I want, I want be -side.
~ . "•z5i«a_ . :§; ~~p^.- :p"_"fti_ft at _/s\_, _ _ __p. p_ «_ _^
What can 1 want be
side, What can I want be - side, What can I want, I want be - side.
What can 1 want be - side, What can I want be - side, What can I want be - side, What can I want, I want he - side.
can I want be - - side,
What can I want be - side,
What can I want, I want be - side.
SHOEL. L. M.
ALTERED FROM SHOEL. 27
Now shall the trembling mourn-er come, The voice long liroke with sighs shall sing,
And bind his sheaths, and bear them home ; Till heav'n wilh hal-le - lu - jahs ring.
CANTERBURY. C. M. haye.nscroft.
iiiiiliiiiil^llilfilflliiiiiiilifll^lliiii
O thou from whom all goodness flows, I lift my heart to thee; la all my sor-rows, conflicts, woes, Dear Lord re - mem-ber me.
:*-*k-+
-O'i
28
Slow.
C. M.
pz_z_z_i:di"a t'.^.tzzi
BANGOR.
«*3^! —
•e
-H-
iiiiiiiiiiiiii
Fools in their hearts be-lieve and gay That ''all re - li - gun's vain; There is no God that reigns on high, Or minds th'affairs of men."
WINDSOR. C. M.
Slow.
KIRBY.
/=N-
•— — j— — ~yt — s"I"qzs"i." i"" tzn— i r"D~5"t— q~ c* — n"i — ~z*i~zr zzi i~zi — i l~ zjzd- t s— * — i — 1~ ~~~~3 —
_.T.__p.T.p_
33=636=
z°zc:zz£: 1^:1:2
— © -T__--._p_T p.
My God, how ma-ny are my fears! Ilovr fast my foes in -crease! Their number how it mul - ti - plies! How fa - tal to my peace-
-- — e-r-©
DIIIZZ
ziiinz
iza.
::za:
BRATTLE STREET. C. M.
J. PLEYEL.
29
-•-A— fc-TV
While thee I seek, pro - tect-ing power, Be my vain wish-es stilled ; And may this con - se - era - ted hour With bet - - ter hopes be filled.
Pia.
•#*£
For.
Thy love the power of thought bestowed, To thee my thoughts would soar, Thy mercy o'er my life has flowed, That mer - cy I a - dore.
so
RUSSIA. L. M.
READ.
UMsm&MmtMsmmmm^mmsMm
False are the men of high degree, The baser sort are van - i - ty ;
Laid in, &c.
; Laid in a balance botli ap - pear, Light a9 a puff of cmp-ty air.
Laid in, &c.
Lioht as, &c.
mmmMm^wm^m^mmm^mi
Laid in, &c.
LISBON. S. M.
Light as, &c.
READ.
:=fc:
r^s-FrP-pT-f^-r
Welcome, &c.
n»I©-»--::T-Pf:=:z^T.zPtzz:_p:iz®:q-
Welcome sweet day of rest, That saw the Lord a - rise, Welcome to this re-viving bre»st, And these re - joic - ing eyes.
Welcome, &c.
T.Qi .
Welcome, &c.
And these, &c.
St. BARCHAN'S. C. M.
J. BARR.
31
iiillliSSSi^ilglil^l^liiii^^p!
How good and pleasant is the work, To praise the Lord most high, And vviih u-ni-ted hymns of praise, His name,— his name— to mag-ni-fy.
h#-£
OLD HUNDRED. L. M.
^eSlsie^lglg^j^^S^agflH^i
'-pi^-.p,.:®: -
|^°^|||||||^g{J||ili=|P||||:|ipg2p||i|:||
All people that on earth do dwell, Sing to the Lord with cheerful voice, Him serve with mirth, his praise forth tell, Come ye be fore him and rejoice.
32
RESIGNATION.
L. M.
TAYLOR.
Slow.
r/ ft
Dead be my hoart to all below; To mortal joys and mortal cares; To sensual bliss that charms us so, Be dark my eyes, be deaf my ears.
RESIGNATION. C. M.
.*_-_
Wi
cn:i:pzp:i:pq3:i~n
— h-
iftL.
-P
Deur refuge of u\y weary 60ul, On thee, when sorrows rise,
Cn ihee, when waves of trou -hie roll, My fainting hope re — - lies.
/7\
SUNBURY.
C. M.
33
My
What shall I ren-der to my God" For atf his kind-ness shown, My feet shall
My feet shall vis - it thine a ■
My feet shall vis - it
My feet shall vis - it thine
bode.
2
feet shall visit thine a - bode
My feet shall vis - it thine a. - - bode,
thine a - bode, My feet shall vis - it thine a. - - bode. Mv son** ad - dress thv thtone.
My songs
ad - dress thy throne.
bode . "^ ■»*
^_,_»_p:T.
[5]
34
WELLS. L. M.
He who for men their surety stood, And pour'd on earth his precious blood, Pur - sues in heav'n his migh-ty plan, The Saviour and the friend of man.
HEj£3E||Ejig
NAPLES. C. M.
N. DOUGALL.
/7\
— ^ s»- ->** Ariel pv'r v vnip/> ho ennrr ^ ■ — ^
And ev'ry voice be song.
Hark the glad sound, the Saviour comes, The Saviour piouiised long, Let every heart exult with joy, And eve ■ ry voice be song: And cve-ry voice be song.
>4
— ^-* am-.-.mm jU-*b— '! ^VnC-iL ••r— t3-j3--l-^=y — el< — (-■•— I J-LaU— ^W — »,-J JL=>,U —
U=l2frB?=trit:c::E!J!iSr3z?t;H:
•I'
DELIGHT. P. M.
if;
-#—
ft— T~
,-p. • -:£:.». . - - .«_«_«- jp; . .©i.-p. :£:.:•:_£_». .pi . ?
No burning heats by day, Nor blasts of evening air, Shall take my health a . wav. 1 " God be with me there.
a • way, If God be with me there.
— a j — j w — - ' o — » —j — -■••■ - "J » -- — -
Thou art my sun and thou
Art, &c.
r=i=E=ib*Jf:iErEz?4E^
my shade To guard my head by night or noon, Thou, &e.
36 COMPLAINT. L. M. *armeter.
* Thy
Spare us, O Lord, a . loud we cry, Nor let our sun go down at soon ;
1 liy years aro one e -
Thy years are ono e - ter - nal day, And
years, &c.
Thy years, &c.
=iF£;*E=EF;|SE»Ei
ter -nal day, And must, &c.
thy chil - - - dren die
T _C_ | — 1«' — P- r-l U
illiili:
-"-'■?• i:*zxzzz?.:i:*z s zz\zz*~i:i~-p.z *::fi:z"c:z=:z:r-z_|
:^:5ft|EzEE{hEE:?i?!t:f|^:t|^f:^|:?EjE
Thy years &c
must
BEDFORD. C. M.
DR. W» WEAL.
37
:_s — i — pi — pi — p. i — t_c_i — i_.r — u.r — r-put 1 — ^.j. — pi — c_p_i — ipi., — i — i — E-i — j_
Let heuv1B a - rise, let earth ap - pear, Said the Al - mighty Lord; The heav'n a - rose the earth ap - peared At his ere >• - - a - -- ting word.
BLACKBURN.
C, M,
The saints when once from death set free, With joy shall mount on high, The heavenly hosts with praises loud, Shall meet them in the sky.
38
VICTORY
C. M.
READ.
Now shall my
-e —
head be
lift
ed high, A » • - - bove my foes
round.
==6=1=
m
jgtorzXz^E
— — •-
— i — -
And songs of joy and vie • to • ry, sound, Within thy temple sound,
And songs of joy aod vie - to-ry, With-in thy tem-ple sound, sound, sound, VVith-in thy tern • pie sound.
And songs. &c. Within, &c. sound,
Anti songs, &c,
sawi,
LOW CHURCH.
C, M>
L. NICHOLSON.
39
Lift up to God the voice of praise, Whose breath our souls in-spir'd; Loud and more louil the an - them raise, With grate - ful ardour fired.
WINDHAM.
L. M.
READ.
^ Broad is the road that leads to death, And thousands walk together there, But wisdom shows a narrow path, With here and there a trav - el - ler
40
FRENCH. a M.
^^g^ggggsffigss&gggg^m
3:rza::
With rev'rence let the saints appear, And bow be - fore their King, His high commands with rev'ience hear, And to him pra'13 - es sing.
mm
HZ in
SEE
St. DAVIDS. C. M.
To him in wliom they move and live,. Let eve- ry creature sing,. AU gla-ry totheir MaJ<-cr give, And horn-age to their Ivi-
NEW WINDSOR. C. M.
4
pzzrpz
_:§" #q cc_ P— -Fziz-P— Piir
p e_.
*=
How should our songs like those a - bove,
With warm de
vo - tion rise, How should our souls on wings of
l<Ve, Mount up • ward to the skies,
Mount ud
ward to the skiea.
4r
[6]
42
ARABIA. C. M.
Be - hold the glo - ries of the Lamb, A-midst his Fa-ther's throne, Pre - pare new hon - ours for his name, And
songs be - fore ua - known, Pre - pare new hon • ours for his name, And songs be - fore un - kno^n.
ESSEX. S. M. 43
Pia.
_,_Pi Pt-T-P * f»-T P- *
Come ye that love the Lord, And let your joys be known, And let your joys be known. Join ifi hia
c^fEE2=5E£EE3EEE:E3:
bI¥=ff=
•1=
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For.
F.F.
tr—m
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=zz.\zz:i:liftzM=izi—a:
i
• v "" ^"T" w"~ ' ■ — — — — « — — — — • * — - — — — ■ — . * — i 1 ■— —
praise wilh one ac - cord, As ye sur-round the throne, As ye sur-round the throne, As ye sur - round the throne.
„._ _. _ . :pi_b*_»_ . £.,
ill
44
St. JAMES'S NEW. C. M.
Come let us praise the Lord our God, And raise our thoughts a - bove,
Let ev' - ry heart and voice ac - cord,
:zibzizuiz:zzi tzz zziz :
— +— Q— H
-ft—
— -— T :— p T~~P"~T~:f2 — 5==r-i5^~"^""T
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To
sing that
God
love.
heart and
voice ac
Let ev' - ry
cord,
■B —
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Eg
SUTTON.
C. M.
GOFF. 45
1 2
I sink, &c.
Save me, O God, the swelling floods Break in upon my soul,
I sink, and sorrows o'er my head. Like mighty waters rol
mmmmm^mmmmmgrnmimmmMm
:«s:
it:
[ sink, &c.
Like mighty &c.
mMmm^mMm&um=i^mumsBmm
AMERICA.
S. M.
WLTMORE.
Thou art, &c.
lEiIIilill^illiIiiiliiii:lle=f^
:±:_; izpzci^ztp i: hzc
Thou art, &c.
- Within thy pres - ence, Lord, Forever I'll a-bide.
-©-T :P--»-
Thou art the tow'r of my defence, The refuge where I hide, The refuge. &c.
Thou art the tower, Thou art, &c.
46
CRANBROOK. S. M.
if»te-7rirr==i=
Ileav'n with the echo shall re-
— ©
Grace! 'tis a charm - ing sound, Har - - mo - nious to the ear, Heav'n with the e - cho shall re - - sound.
-# z — K — Sr — ri — i
Heav'n with the echo shall ro-
t( Q 8 r»"N'~h">'T
Jr-s-*T— z--i — F-d-a— •■-5:5-5---
sound, the e - cho shall re - sound,
.rCz£mz£zfc.
And all the earth shall hear,
And all the earth shall hear, And all the earth shall hear.
=r*::z=t:siszis=izzzi==:i=$zi^zz^=*z::-:z:p:=zi::t:
1 y h * Q-t0-0~i •_■■-■- -
:£z
- *- -•-
E=?E?E?E;E?^=!iE=?E^zlEliz
Heav'n with the echo shall resound, And all the earth shall hear,
?iz^z|::^zz?:z:^:z;^zizz:&zz>lz:z,:] =j=!= [=EK
And all the eartli shall hear, And all the earth shall hear.
sound, The echo shall resound.
\j„ jji-^-gp.
—*-&
-/#r.is:s
CORONATION. C. M.
Sofl. Loud.
Soft.
HOLDEN.
Loud.
47
&:fed
i::ti_il2d/J:p.L.|-£|p-|-^^ "FzHzPt Ei-~~u~rIizEiE E ^iEi F tzzt'f'^z i *~*~] ~i°"3
All hail the power of Jesus' name, Let angels prostrate fall, Bring forth the royal diadem, And crown him Lord of all, Bring forth the royal diadem, &c.
mmmmmmmmmmmmmmmsm
rr 1 — tr"1"1'*"?T •t~"i r~j~rv-r j— 5-^iR "••;•-— iPPrs~"1~i — £rP- — P#i • r-P — t t-I-t — ■-
CAROLINE.
C. M.
Few are thy day3 and full of woe, O man of woman born, Thy doom is written, duet ihou art, And dust thou shalt return.
«,E1.
sas@@ffl^^B@s
48
FOUNTAIN.
C. M.
I lark! how lhfa - dor - - ing hosts a- hove With songs sur - round the throne, With songs sur - round the throne. Ten thousand
thousand are their tongues, But all their hearts are one, Ten thousand thousand are their tongues,
/7s a\
But all their hearts are one.
Illir^ilg^lis^^iiii^i^ilii^
> Te» thousand, &«.
BELMONT. C. M.
P
Soft.
49
izfcrszzfciz:
-h-.s.zzzia:
:zh:irzz,ZL-
_K.,_II_Z—
See la
rael's gen - - tie Sliep - - - herd stand, With all en - - gag - ing charms; Hark, how
*zz;sz:
he
K
tf;
. p _ ^ ^ .,
Loud.
:zfe:zzjzzhq:
i*:fa=:=:-::
■Ht
£Ez^iTzz3iz^""zpziz§zi:^ — zz®iiz^i*i^i^zz:Eifiii~_s-J-§-izzz:~zz§zizpz!
i3
in
calls the
ten - - der lambs, And folds them
his arms, .And folds them in his arms.
^\-
±acES
[ 7 ] Org. Voice.
IPS
i£
50
->^
BETHLEHEM. C. M..
Hark how th' a - dor
hosts a - bove, With songs sur - - round the throne, Ten thou - sand
thou - - sand are their tongues,
But all their hearts, Bat all their haarts are one.
s^==r
But all thair hearts,.
BETHLEHEM.
L. M,
51
I^^^^^S^^^^^^^^^^^^^^^^^S
'.Zty- — Z.-ZW--
-7-s»-j>— ' — c-— h" +■ — 2 ! ' — + •-WL-±-m- -fi 1 * — ■ h-i — i — — +-F-F
Praise yo the Lord, 'tis good to raise, Our hearts and voi ■ ces
his praise, Our hearts and voi - ces in hi
praise.
)_4,_$-4_i__l-F-4-v—^— — i — P-Ij h-/-u-J •-._*_l5_*_^.zJ_^_±J__i_±i * ±_5_*_N.t_t_ £
His nature and his works in - vite, His na - tare and his works in - vite, To make this du - ty our de - light.
p r
52
CYRENE. S. M.
FORBUSII.
Well, if
our days must fly, We'll keep their end in view;
We'll spend them all in
We'll
We'll spend them all in wisdom's way.
We'll spend them all in wisdom's way,
wisdom's way, And let them speed their flight,
spend them all in wisdom's wav, We'll spend them all in wis - dom's way, And let them speed their flight.
And let them speed their flight,
WARWICK. C. M.
53
Je-sus, I love thy glorious name, 'Tis mu -sic to my ear, Fain would I soar it out so loud, That heav'n and earth might hear.
MEAR. C. M.
#W P-t° — ©-,-° —
. o p ., Q_© Q_
a — 5 t © — p"
©t Q-i-
_ ~ _'I"CZH_"I _~ ]—
O, 'twas a joy - ful sound to hear, Our tribes de - vout - ly say, Up Is - rael to the tern - pie haste, And keep your fes - tal day.
54
BUCKINGHAM. C. M.
Iii-PI_DZZ — pi _d — :©
_t2 — I __ ' J Ll
\ —
in pin Ex p^^zpia: pizza zzz^zrziDzzipzz i ®ici_a:pTgzz.zgrzzQZzzp:iicz3~
Help Lord! for men of vir-tue fail, Re-lig-ion los - es ground, The sons of wick - ed - ness pre-vail, And treach - er - ies a - bound.
g=S— =,
NORTHFIELD. C. M.
INGALLS.
*
ll~E:
Fly swifter round the wheels of time, And bring the wel-ceme day.
How long, dear Saviour, O how long, Shall this bright hour delay ; Fly swifter round the wheels of time, And bring the wel-come day.
Fly swifter, &c.
-m-m- -•- -Is- -p-.
-ft" 1TZ — 5 — TPnFnT T~f~Tn^Tr"^l*ir?7f'r*TTTi'ir" T"T~"1 "FTr ~I~T~f5 — PT^*"-1t
Fly swifter round the wheels of time, Fly swifter, &c.
DEVIZES. C. M.
TUCKER.
lf£!fes=i
jgZZZEzp P ' I-
^zp^zz^zfipzzpzrzz^pzzz^^
55
EgEEis
Be - hold the glo-ries
of the Lamb A - - midst his Faih - - era
throne, Fre-pare new hon-ours
BI.=*=gz|EE=|f:
iSz^zzpzzzz
for hi
7V*6/es ."foft.
^^g^^^^CT=^^^^yi
And songs be - - fore un - - known, And songs be - - fore
un - - known.
t
_ ■*'
-m=.
MILBURN PORT. C. M.
-!2=r:re=iE-»—
Long as I live I'll bless ihy name, My King my God of love, My work and joy shall be the same; My
Pia.
|l!llii^i=il!iiiliiiiliiillliilii^liI3llO
work and joy shall be the same,
—p — m- , -e - --, -9 — !-
- ^ — T — w ■ — "
&
My work and joy shall be the same, In the bright world a - • bove.
For.
CANTERBURY NEW. C. M.
57
*^ Where saints im - mor - tal reign,
There is a land of pure de - light,
Where saints im - mor -tal reign,
Where saints, &c.
In - fi - nite day ex -
\v nere sunns, otc. »" " " «ne uajr h
And pleasures ban - ish pain,
eludes the night, Infinite day, &c. And pleas - - - nres ban -ish pain.
58.
AUBURN.
C. M.
,/ A
:fc- I
>-{£-■
— b-
•s —
hap - pj they who know the Lord, With whom he deigns to dwell, With whom he deigns to dwell;
cheer* them with his word, His arm supports them well, His arm, &c. J lis arm, &c.
LONSDALE. S. M. D.
59
^zgzpzj(_zpzbzzpzi:L~gzzuzibzbzpifczpibzKZZzii:i — izirpzpzpzpjpzzp— zzpzuzbixizbzzzpzzpz_pz^:z|zzzp
The hill ef Z'\ - on yields A thousand sa-cred sweets; Be - fore we ieach the heav'n-Iy field, Or walk the gold - en itreets.
~S A-
Then let our songs a - bound, And ev'ry tear be dry, We're marching, &c.
-A-V-. -•-[»-• *i*.:pi«.^_ -'-i-PrP- • . __je?l«_#. .
Then let our songs a - bound, And ev'ry tear be dry; We're marching through lmmanuel's ground, To fair - er worWs on high.
dc^IzHffl^ljZZJZffZZInZKZZfcZZzBzi^
pi:?:±b :£" L-EzEiB_zizz!zzz*zizEzfez-='rti
Then let our songs a • bound,
-fcp-fr-
And every tear be dry, We're marching, &c.
60
FALCON-STREET. S. M.
<tr
_£., Q C
Come sound his praise abroad, And hymns of glo - ry sing; Ye heav'nly hosts the song bo ■ gin, To our
JL L __ f -
Praise ye his name, Hal-le - lu-jah, Praise ye his name, Hal - le - lu - jah, Hal - le - lu - jah, Hal - le - lu -jah, Hal - lo - lu
_~ _ ± • /, i-T-l* I* f* *- -— I* r* Is- -* P •
ex - alt -
urn
In
:d King,
rr
mm
mi
Slow.
§gH|
jah, Praise ye
i:s:
P
Hal-le- lu-jah, Hal - le - lu - jah, Hal - le - lu - jah, Hal - lo - lu - jah, Hal - le - lu
_/__ p _ /
EEfc=EE
jah, Praise ye
, ^ Slow.
Z-C-SZaz
-re
3- — *
Praise ye hie name, Hal-le-lu-jah, Praise ye his name, Hal - le - lu - jah, Hal • le - lu - jah, Hal - le - lu - jah, Hal - le - lu
mm
Ins name.
-**-x ■—
his name.
mm
•--»-
Hal-le -lu-jah,
Hal • le - lu - jah, Hal - le - lu - jah, Hal - le - lu - jah, Hal - le - lu
jah, Praise ye
t o I
it:i_~ 9~
■ jah, Praise ye
5*
his name
k-
=33=
I
his name.
JUDGMENT. 10's.
REED.
61
P.r-t
f +TF __ TJ —J -I -_ .4 I 1 _J
lards are nigh, Tem • pest and fire attend him through the sky ; Ileav'n. earth and hell draw near, let all things come
Be - hold the Judge decends, his guards are nigh,
:fi:-Pziz(zzz £i£~p-T :P:zr^T-P--P-i-Dir-z-P-T-?z?--«r-*"i-p-6#iP-£-7-?Z£---°i-^
To hear his jus - tice and the sinner's doom; But gath-er first my saints, the Judge commands; Bring them ye an-gels from their distant lands.
62
MAJESTY. C. M.
BILLINGS.
:&--
1 (9-Tl
:©— ■
The Lord <Je - sce-nd - ed from a - bore, And bow'd the heav'ns most high, And un - der - neath hia feet he
jspi
:ziz=2:i:fz-z»i?zizti:?Lr:Pz?i»z:f:Tzzi:T:z:
e :£z_"£z_£..ft £(~@H*£l
On cher - ubs and on chor - u - bim Full roy - al • Ijf he rode, And
cast The dark
- ness of the sky,
MAJESTY. Continued.
63
on the wings of migh-ty winds Come fly - ing all a - - broad, And oa the wings of migh-ty windscome fly-ing all a - - -broad.
NEW LONDON. C. M.
m^mmsm&^^i^wr^MmwmwMWi
!'Q. t
All praisetothee in high-cst straiusr, In highest worlds be paid; Thy glory by our lips pro - claim'd, And by our lives dis-play'd .
61
ST. ANN'S.
C. M.
I
i^nsi
Now shall my in - ward joys a -rise, And burst in • to a song; For love di - vine in - spires my heart, And pleas-ures tone my tongue.
„ tr /- — n tr
MARTYRDOM. C. M.
Harmonized by r. a. smith.
-i r—
-J377'f-rQ-n-]e-?-?I-Q ©— -T© ,-
z2;
iiiiSiS§ilSSiyil§Sf^iiillI^ili
Be mer-ci - ful to me O
izfczsizUzzzzti zz-
God, Thy mer - cy un - to me Do thou ex- tend, be-cause my soul Doih put her trust in thee.
lililSliliiiliSliiailiSftei^lgliSS
PIETY. C. M.
65
if ^5
-if— 8+T —
©
T
O that
._:sz:
ith yon - der sa
cred throng,
We at his feet may fall,
gi# — zjzzi-Z — » —
We at his feet may fall,
Forte.
^S
- _™z zzizz — fzz
**
gj=;
We'll join the
IZZlZIZpZZpI
' - er - last - ing song Trebles. And crown him King of all.
We'll join the ev - er • last - ing song,
66
CALVARY. C. M.
My thoughts that often mount the skies, Go search, &c.
int the skies, Go search the world be-neath, Where nature all in i
~"ig~|*:i:~z: — »~gT|» f*z£~9.:i'~~~~ — — "~"izjZzzi — zi*z!*z°z*:jEzpzi~|Zi"
My thoughts that of - ten mount the skies,
Where nature all in ru - in lies.Where
My thoughts, &.c.
Wliere nature, &c.
y
Where na-ture, &c. And owns, And owns, And owns her Soveregn's death.
na • tnre, &c.
And ovt ns,
And owns,
And owns,
her Sovereign's death.
* A.rirl fiu/na A n.t A.»t«« A .wl naunn liar >Ava»irfn'a rlnnth
And owns,
And owdb,
And owns
her Sorereign's death
NEW CAMBRIDGE, C. M.
67
! ft :•" G P „_Q_
I'll thee extol, O thou my King, I'll bless thy name al - ways, Thee will I bless always and will,
/TV
zz iznzpz^ipzp
Thy name for ev
./ _.:•- .
er praise.
BETHEL. C. M.
-rr T\
j j, «_ e>~B-& f%_®.:ff"p_ £._ :?":§: 'ft'-m* "* _i_^ _^ :§"_"§"_ "gze~(zffft"ziz: z
ipH
I When we ap-pear in yon-der cloud, With all thy favour'd Ihrong; Then we will sing more sweet more loud, And thou shalt be
our son".
;lill=31
68
St. ALBANS. C. M.
^zzz±
Come hap
§§1
H
py
lz?z£:
Sz#z£
&
3E|rj
souls, ap - proach your king, With new me - • lo - - dious songs; Con
_(-\__ £ _
, •___
Come ren - der
_ _ _ ffl <* J m m m *_
:z*z*r
jEzzjz
to
m
tongues.
IEEE
his gra -
name.
The tri - bute
your
The tri - - bute
_£=;
_?_P
[EpEE?EpE
of your tongues.
0\ f .
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Slflliilililllliilii*
URIEL. C. M. (Hy. 243 Wesley.)
W. ARNOLD.
69
lMM=MhlMd=EBm=dMd=h^M=lM^hi
Come, Fath-er, Son, and Ho - ly Ghost, one God in per-sons three, One God in per-sons three, Bring back the
rfc — F
heav'nly bless - ings lost By all mankind and me, By all man-kind and me, By all man-kind and me.
Trebles.
70
NATIVITY. C. M.
:2— zzz-zizzzzizsz!
)zez^z|jz^z^y
Wlien shall we reach those bliss - ful realms, Where peace for • - - ev - - er reigns, And learn of
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, _Z— tll-r- !_!_§ ?__t_t=— [__T_©— f fL
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' I
Forte.
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e-+— ,
E^=?=|z£z|EZ»z*z|z=£=]p
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si
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Their own
im - • - mor • tal strains.
:SzEz«»zzp=
mm
— 9—1-
yon cc - les - tial choir,
zzzzrszizzpz
Their own
im ■ - uior - lal
1. , N 1^ ■■,.«■ _ _tr«.
strains.
Ill
IIS
MONMOUTH. C. M.
MAXIM.
71
"^
izfcig:
)5:l5z:
izirg:
zz±:fcz:
— — - t— i— His
With revVence- Iet~~lhe saiiuT" Ip^pear, an~d bow" be - fore the Lord", His high commands with
"" * His high commands with rcv'rence hear, And
:zfe:S
£:i3z
-big
£:fcz
high commands, &c.
rev'rcnce hear, And tremble at bis word, And trein^ - • ble, &.c.
tremble at his word,
His high, &c.
.. , - — — O ' * ^^
at bis word.
Efctszg
—t.hz
72
eke±
MONMOUTH. L. M.
MARTIN LUTHER.
53=5*
L==1I==E==
In robes of judgment lo! he comes, Shakes the wide earth and cleaves the tombs;
Be - fore him
ES
.-• — - »-t r~T-
9 — T~
-i---i-r- -•-:t-:z=:
*\
jtz% : rj =»=:;=»
*-£-,-:
S7
burns
==£l=f=EFi
de - vour - ing
#2* 1 —
iz^zzzszz:
EliizEpi
fire, Tlie mountains melt, the seas re - tire, The mountains melt, the seas re - tire.
rfAftz
OLDHAM. C. M.
4r
75
Women Forte.
With saints above to jo.n.
Oh for a thousand tongues to sing, The praise of love di - vine, In songs un-to my heav - 'nly King, With saints above to join.
Pia.
PETERBOROUGH. C. M.
-a.h-%. . "pzprpz|?~^:.«p :®:. "§:.«.:•" _e :£:. _p_ i*9:. st_».:(?z*"^T£ :£: p. .p. -J±±m.:£.: _e p_ :®: _
Let saints be-low in con-cert join, With those to glo - ry gone, For all the servants of our king, In heav'n and earth are one.
76
SUNNING.
P. M.
lffc|zfEpi»^
I
\'^z z?|£5E*zi=P=E
To God the migh - ty Lord, Your joy - ful thanks re - peat, To him due praise af - ford. As good as he is great-
■/■ft-
f^zz1zi^z?-fzi5z£^^^
.^.^-t-S-fzE'^-t^^ztzzz^tqizpz-ifczt-^z^ — i_:izpzprE:X,
For God does prove onr constant friend, His boundless love shall nev-er end, For God does prove our constant friend, His boundless love shall nev-er end.
"r»z ..*.:£
^^I^l^lfigiiiiiiiiliiii^g^;f|gi
NORTHFIELD NEW. C. M.
MESERVEY.
77
Al - migh - ty love ia -
Now shall my in-ward joy3 a-rise And burst in - to a song, Al -
Al - migli - ty love in - spires my heart, And
gig^^^K5;»^ig^;|i^^^g^^:g:g:g;^E=^:
if^ca-z —
Al - migh-ty love in - spires my heart, And pleasure tunes my
1
WMmm^Mmm^^&mu^^m$Mi=M%
spires my heart, And pleasures tune my tongue.
# • A££zrz£.;z£: :Ii- _£- .*_-_»_ ■. . _•-(• -j- *-.£— pf=z£ :. -P— © P-^ a
migh - ty love in - spires
my heart, Al - migh - ty love in - spires my heart, And plea-sure tunes
my tongue.
plea ... sure tunes my tongue, ^
tongue, And plea-sure tunes my tongue.
78
MOUNT PLEASANT. C. M.
4r
m
-2-
If
The sleep - - ing saints with joy ahull
wake,
And loud ho - - san
nahs raise,
In
yJS*^
Women.
Forte.
|fflE^^^^EB^B^^^^iSrff=i=f:TrfS^^^^E
h p- — *=f=?
him who lov'd them
And glo - rious make his
*~ r-O — t
praise.
they'll re - joice, And glo-rious make his praise,
r_ r^l fit _z^~ _. f ^*/ jZjl "?~ — ^ I
W. ARNOLD.
o
MERCY. C. M. (Hy. 1. Wesley.)
79
— ^ — t?
for a tbou-sand tongues to sing My dear
Re - deem - er's praise, The glo - ries of my God and
Tenors. Pia.
E5E
fffSSE
S2=j
v
King,
)-£z:
—i —
The tri - - umphs of his grace. The glo - ries of my God and King, The tri - umphs of his grace.
Trebles. por.
80
if
ORANGEBURGII. S. M.
MAXIM.
ligiiiiiiiStiiilliSiglPPS^iiliiilii
How free the fountain flows, Of life and end-less joy, The stream which no confinement knows, Whose waters never cloy,
O ev*-ry thirsty soul approach,
P-— T— .,
pSSiiigiiigi^ilSg^agiffilS^!
_ "£: «m_ "?^i®_ _. _. —9 e
the sacred spring: Prink and your fainting spirits cheer, lienew the draught and sing, Drink and your fainting spirits cheer, Renew the draught, &c.
GASCONY. C. M.
81
To thee be - fore the dawn-ing light, My gra - cious God, I pray; I med - i - tate thy name by night, And keep thy law by day,
^
When mid-night dark - ness veils the skies, I call thy works to mind; My thoughts in warm do - vo - tion rise, And sweet ac-cept - ance find.
[11]
32
t(St-
W. ARNOLD.
DANIEL. L. M. (Hy. 155, Wesley.)
_-_e_T_e_p_
Stay thou in - suit - ed spir - it stay, Though I have done thee such de - spite, Nor cast the sin - ner
Ttrfc
zzzza
b
quite a - way, Nor take thine e*-
er - last - ing flight, Nor take thine ev - - er - - last - ing flight.
ing flight.
gill
SUMNER. C. M.
MAXIM.
83
«_#_ ._ m _j#; .• «._»_. _ _#_:i?;_ft_. . s. "*_:.,*»_:*;_;£: ^- -p- :#- .
Could we but climb where Mo - ses stood, And view the prospect o'er, Not Jor-dan's stream nor death's cold flood Should fright as from the
eric:
■#-^-P~-
.... -p- -f- ■ _P- "2;
■M-
tzizfc:
shore, Not Jordan's stream nor death's cold flood, Should fright ns from the shore, Should fright, &c.
SE?3IEiE££=?ESE£=i5=
84
SHREWSBURY. C. M.
tr
=N~
p Women.
=?ztz^zt:I:ffE:sE:*=:rF-*=*=;*=^-Jp=
-h-r-H-
*&Musm
-i — i — t — ti — a_i^_«ztzjz:±
:zic
■M —
! how the saints in lof-ty strains, With songs the throne surround, With songs the throne sur • round; Hark! how they
_pi_ __ .e3pzfzp'_» . _. — p *~m.' '&.' ,_ P— ?
™f _ . .*- _p_ ,__ f ^-v ^— _ J.
charm the star - ry plains, Hark! how they charm
the star - ry plains, With an im
nior - lal sound.
irr
' mf U~ /
itdl "
:zhi
ENOCH. C. M. (Hy. 322 Wesley.) w. arnold. 85
Thou Lord hast blest my go - ing out, O bles3 my com- ing in, Com - pass my weakness round a-bout, And keep me safe from sin.
bin
t^zctazt
^=iz^:iiirt3tI=zEiEiEi;
SARAH. S. M. (Hy. 41 Wesley.) w. arnold.
:taL=:i:
s^s^^^S^^=l^^^^^l^]^s!ii~^^^^^^S^fe
#r*5-P-^-P--
.Q
bo-
-QiT &■
And am I born to die, To lay this bo - dy down, And must my trem-bling spir - it fly , In - to a world un-known.
86
TEMPLE. L. M.
HOLDEN.
-U-
.And in thy templo let us see A
— r »-
Send comforts down from thy right hand, While we march thro' this bar . ren land;
l,
And in thy temple let us see A
ry— -T---1 — [T-|7T"'~"~~i~~ir~"~1Zi: — I — > — j — i- — — | ~ — ] — t ~ — [ j; zi -~T~m~m-m~-z:\~m- — --~~T;1-~1:*1 — l'T:~:
And in thy temple let us see, And in thy temple let us see A
rW
f»::p=t::q
glimpse of love, a glimpse of thee. With such a scene of sa - cred joy Our raptured eyes and souls em - ploy Here we could Bit and
illif
TEMPLE. Continued.
87
|i
gaze a-way A long an ev - - - er - last - ing day, Here we could sit and gaze a - way A long an ev-er - last - ing day.
SMYRNA
C. M.
-mi&
wmg^^^mm^B^^^msmsmt
p=f-
— -T — |9-|»-^-T-p ©-T-|9-n-i
u"7i5 I r J"
O for a heart to praise my King, My voice I will
cm- ploy; A heart to love thy sa - cred name, My ev - er • last - ing joy.
b-SIZ
88
Onr
KNUTSFORD.
C. M.
I
to his bless - ed name When all things
::ii::Jx="io*]:
King on high shall be our theme While in tlio world wo stay, We'll sing un
ez«_iss — z}_:
— -1 — ©— f zzzz — __i©zz©.i — i — [zzi-jjj — ©.i Jzzzziz^^f — e>— I-Zjzziz3-izzzzzzzzzT;zizliz'Z~T:zzri~izzlzzrin
'Zrzzbzizfzzt»tzi[zzzb:i:|;zz_zi:tz:li:i:*zz_iiZzzLZ^ii"*-zz ziizztzz-LZZZT"zz'E~Er ' — Fzfz z*~t
f
:rti— ft
iliiiy^ziii
ilgllliig^H^llJilHiili
his bless - ed name, When all things else de - cay.
cay, We'll
un - to
H§bte3E:
W. ARNOLD.
%zd;pzzzr
ELIZABETH. C. M. (Hy. 124 Wesley.)
89
lz±ztziz-h——:
With glo
!I|=p|Ep
rious clouds en • com - passed round, Whom an - gels dim
:j:zi
Ad
•--
iisi
\y see,
Will the
^^T^^
if
:Szdz:±=:zzjz:
Forle.
^:
ZZZZ #ZI_»_.ZZZ
^ZiZffZZZiZ
search - a
ble be found, Or God t
Q
ap - pear
pear to me, Or God ap - pear to nil
l'ia. _ ™ ^^^
ble be
°m
[12 j
=Sl
90
!lii=i
;eeEe;3
fee
PiZir:
•h-
HANNAH. P. M. (Hy. 223 Wesley. w. arnold.
.___-*i55l*__ « — __. i_ g
:=p=i=:e==T=P
Hap - 17 man whom God doth aid, God our souls and bo - dies made.
God on
gra • cious showers, Bless - ings ev' • ry mo
ment pours, Bles» - ings ev' - ry mo - ment pours.
m
JUDAH.
s "S
L. M.
(Hy. 2 Wesley.)
W. ARNOLD.
91
Come sin - ners
to
the gos
pel feast, Let ev^_- - T
soul be Je - - sus' guest. Yoa
*Z£2="
•ft-
r_Q P-_.Q_e.__a— -_
need not one be left
be - hind. For God hath bid - • den all man - kind, For God hath bid • den all man - kind.
f^MMWiWi^SMMsuU^MllMWM^^SS^S^
«_-r__-f-.2-
I Inat. I I Voice. I
92
EE±Ei=3
ADAM. P. M. (Ily. 336 Wesley.) w. Arnold.
-©-t-o
••
is
Ye hap-py sin - ners hear The pris' - ners of the Lord, And wait till Christ ap - pear, Ac - - cord - ing
S
ai-p^jpipEppp!
zzziz»zzzizzzzz:zz-i:ji^
Tf'-Q ■*-•' 1 l-T-1-rr- S-T-H 1
T*ikP~^rrV: — 'I~~F~Vf~~~P'~'?:~~r'~'\"~P — P — T"p""'~T2r*"™: — rp;T"T~PiP-|>'"T~|a"a"P*:p""pP — P~"T~9~Tlt
to his word, Re - joice in hope, re - joice with me, We shall from all our 6ins be free, We shall from all our sins be free.
.«. .«- -flL
IRISH.
Full and Bold.
<r
i=y=s
g=n;
C. M.
ft ~^Z ^ £ •_!~N
93
z=5==*zz=*=±=*==^:
The
:g-o
nS
4 — ♦ —
4»— F—
glo -
H
ar - - mica
of
the
1r
skv, To
thee
migh • ty
King,
tr
|fi 9 ^
:*--»z
i
crate, And
tr
I
Tri
- umph - - ant
an - thems
hal
fi
jahg sing.
'=£
ft
94
NEW HENLEY. C. M.
hr
When shall we leave lliese drea - ry plains, And all our sor - rows cease; And all our sor-rows cease.
Then shall we
4r
Then shall we sing, &c.
Reptat F.
Then shall we sing in joy - fal strains, la yon sweet realms of peace.
-rr
Then shall we sing, &c. _ _
s ^ s n -m- -•- Repeat F.
•log
in joy - - ful strains, Then shall we sing, &c.
• A-* -I —
VIRGINIA. C. M.
BROWNSON.
95
pz:
Thy words ihe ra - ging wind!)
con - troul And
the bois - trous deep;
Thou
-#-
ing bil - lows sleep, The roll - - • ing, &o.
mMt^_ - - - _ J __ __j. ~
96
MOUNT EPHRAIM. P. M. (Hy. 20 Wesley.) w. arnold.
to^-fr-^*^^ ■ ,-■ -i
Wea-ry souls that wan . der wide, From the cen - tre point gof * bliss, Turn to Je - sus cm - ci - fied
Flee to those dear wounds of his, Sink in - to tha pur - pie flood, Rise in - to the life of God.
NEHEMIAH. C. M.
97
i
O, let me join yon hap - py throng. Who praise their glo - rious King^ Who praise ^their glo - rious
Pia. p mf ^~^__
ziiz:
King.
m
»>.t .
O, let me mount aud swell the song
Trebles.
Which they so sweetly
•h*
:©-:H:
Which they so sweetly sing, Which they, &c. Which they, &c.
mf
m
sing.
ii
m
[13]
98
YARMOUTH. S. M.
KIMBALL.
#r*i
Whose, &o.
-#T
My soul re - peat liis praise, Whose mer • cies are so great,
Whose an - ger is so
Whose an - ger, &.c.
-_if.__ ;
\\ hose an - ger, &c.
^#JE—
r^EEIE=E?=l=EEE
Whose an - ger is so slow to rise, So rea dy to a - bate.
slow to rise,
FRAZER or CORNWALL. C. M.
99
1 9 — 1_9 « 9 f 1 — -t — -Z-9 — I — £ji_J i .-9 — iz
How plea - sant is the hcav1 - nly Bound, In a be - liev - er's
Q~~3 — SI — '7~# — — ♦ — ' -1
ear, It sooths his sor - rows,
And drives a - - way his fear,
And drives
way
his
fear, And drives
way
his fear.
l"^~^~pr — S~ ' T ~7 ~- ~T ' ' l*~yT~|* ~ T~ j 1~
heals his wounds,
And drives a - way his
fear.
And drives a - way his faar, And drives a - way his fear, And drives a - - way bis
fear.
100
MOUNT HOREB. P. M. (Hy. 139 Wesley.) w. arnold.
O Je • - sus, let me bless thy name, All sin a - las thou know'st I am, But thou all pi - ty art;
Turn in - to flesh my heart of stone, Such power be - - longs to thee a - lone, Turn in - to flesh my heart.
tflfiiS
:4b-
p=0=3=fcnz
[-=z«z=i
I|§1§
SICILY. L. M.
101
:i_::*z*zzf
:=F
CI1
— I *>-
"_:
—
f— :~F —
-i ' —
E£e£
— u — ~zp
"a ZmZ§
ISZZZZi:!!
thou who
my
heaven-ly KiQg> Thee will I
5t=E
z<&-=.» d_3-i— s t — i-ff^.*..^. *zz. '.
:azzz«:
mag - m
and
4r
praise,
m
«.
— e
J-z=zz5zzEi:
E w m 1 ^ —
I will thee bless and glad - ly sing, Va • to thy ho - ly name al - ways.
102
S^=^=i==-E*ziEt
WALMER. C. M>
He moves in a niys - te - rious way,
1 lis won - ders
to per - form,
He plants his
S ^ He plants Ws footstep in the sea, And rides up - on the storm, And rides, &c.
** And rides up-on the storm, And rides, &c And rides, &c.
foot - ste| s in the sea,
^ Hcnlantshis foot-steps in the sea, And rides up . on the storm, And rides, &c. And rides, &c
11
AARON. P. M. (Hy. 162 Wesley.)
/-Q-#-?£ ■ ~1 -j l~"iri'~ 1 " T ZJT — r-H ]-T 1- 1 \~l~r===
W. ARNOLD
j__^_
103
:£zzizz pz
Depth of mer - - cy, can there be, Mer-cy still re - served for me, Can my God his
Plaintive. Pia.
wrath !for - bear,
Me the chief of, Me the chief of, Me the chief of sin - ners spare.
104
EVE. P. M. (Hy. 64 W.)
W. ARNOLD.
Ye virgin souls arise, With ail the dead awake, Un - to sal - va - tion wise, Oil in your vessels take, Up starting at the
.Moderate.
— 0- 1— x .* — !—»••=—
-v-
■&-?
t5--\ — I — * ^ L — ja p — p— ^ — •= — *= — <«• — K-» e — [a — p £-' — »- — ■ — ' -J-
)-"r»-|g-j-rK---y-y y— --.|#-I?Z-<-|e— y — — - — - — — — t-— Z *" 1* — *~f» — Z* * — TZ° — mZZDZ±.1"
midnight cry, Behold the heav'nFy bride - groom nigh, Behold the heav'nly bride - groom nigh, Bc-hold the hcav - 'nly bridegroom nigh.
— -- p -&-*-& — [a-
, fc^^£L_£- _£-
z^ii=ziippi*iz^z^z5zzj^izzizz:z,*zzzpz$z:z::z:bzzfEzzE::izizz:zz:pz:
zz:zEz*z::zlzztiiz#zzjzzyzizzzzz:z~zzizzt-zzlfzz^zrt~zz^zizE=:zz,_z":
PORTUGAL.
L. M.
105
SEE
•^* — — — — -
BBSSE
■3zz=-
O
^^=|zr
O thou in whom the gen - tiles trust, Thou on ly ho - ly, on - ly just;
tune our souls to praise thy name, Thou who art ev - er • more the same.
[14]
106
BENJAMIN. P. M. (Hy. 150 Wesley.)
VV. ARNOLD.
*-*
O dia - close thy love - ly face, Quick-en all my droop -iog pow'rs, Gasps my faint - ing soul for grace,
As a thirs-ty ' land for show'ru, Haste my Lord no more de • lay, Come my Sa - vionr come a - way.
WINTER.
C. M.
107
mm
in
—I — 4-h
His hoa-ry frost his flee - cy snow, De-scend and clothe the ground, The liquid streams for - bear to flow, In i - cy fetters bound
*< ?t% —
MARTYRS. C. M.
When shall I bathe my wea-ry aoul, In seas of heav'n-Iy rest, And not a ware of trou-ble roll, A-cross my peace ful breast.
ASHER.
P. M. 8 & 7. (Hy. 374 W.)
\V. ARNOLD.
II
f
T nvf Di - vine all loves ^_^_^. . — »-r V C
— ^..hz — zz\iz—z:-^ziz\ — 5,-1 —
-ble dwelling, All thy faithful mer - c.es crown, « - ._ ---
ASHER.
Continued.
109
1fei
Vis - it us with thy sal - va - tioo, Vis - it us, &c. Ed - ter ev' - ry tremb-ling heart.
Tenor. Treble Pia. For.
St. MARTIN'S. C. M.
**
©- -@- -©-
O thou to whom all crea - tures bow,With-in this earthly frame, Through all the world how great art thou, How glo-rious is thy name.
110
BRIDGEWATER. L. M.
EDSON.
S
My 900I thy great Cre - a - tor praise, VVheu cloth'd in his ce - les - tial rays,
He in full ma
■/-ft—
He in, &c.
He in full ma - jes - ty ap - pears, He in full ma • jes • ty appears, And like a iobe his glo - ry wears.
jes - ty ap - pears, He in, &c.
And like, &c.
MOUNT SINAI. P. M.
(Hy. 194 W.)
W. ARNOLD.
Ill
A - rise my soul, a - rise, Shake off thy guil - ty fears, The bleed -'ing sac - ri - - fice In my be - half
'^ — ;#r
c\
ap • pears, Be - fore the throne my sure - ty stands, My name is writ - ten on his hand-". My name is writ-ten on his bands.
112
PECK,
:=^E?=H
TROY. S. M.
Deep as the sea his
His truth trans - cends the
sky, la heav'n his mer - cies dwell;
Deep
Deep as the sea his judg-meuts lie,
Deep as, &c.
El^Iliiliii|i|||l
Deep as the sea his judg- merits lie, His an - ger burn to
-r—
lililili
Deep as, &c.
r~E_i — p-
hell,
Deep as. &c.
DANBURY. C. M.
113
i p — i_p — • — p — :rp_.f_p — ip — i.p — it — uj — i — * — l-i-3Zi ._z: 1 — :_: — :
Our life is ev - er on the wing, And death is ev - - er nigh.
I
The mo-ment, &c.
Ttie moment, &c.
The mo-ment, &c,
m=:*i= j-pzpz ?z:*zzff zzi
i=P==p==::
The mo-ment that our lives be -
gin,
We
be - gin to die.
We all, &c.
[15]
114
GABRIEL. C. M.
For er - er here my rest shall be, Close to thy bleed-ing side, Closo to, &c
This all my
i ~p" T '. I » |~t ~| [J
1 -|.-l-*3
B
hope and all my plea, For me the Saviour died,
For roe, &c.
Forme, &c.
p* ■( f TTJirli \^\T^~i^M^S^^^ ^^t^JiX-U^U^
W. ARNOLD.
m
St. PAUL. P. M. (Hy. 359 W.)
None is like Jes-hu-ron's God, So great so strong so high, Lo he spreads his wings a - broad, He rides ip - on the sky. Is-rael
\-Mz
f>
n\
is his firstborn son, God th'al - migh-ty God is thine, See him to thy help come down, The excellence di - vine, The ex - cel-lence divine.
116
PICKERING. C. M.
-#75—
.a „
How sweet
hear
the heav'n - ly sound, 'Tis mu - sic
our ears;
#~s — ."fti — |— g- — i — i — j-t — I j J"?~"n~T7*"t"^~1~T^i« — ftr* — y^TT^ y^TT — r~TT~TTC
"" ~mf ~~ " ~f~ ' Z ""
It soothes our sor - rows heals our wounds, And drives a - way our fears, And, &c.
___; __2f / _ .
EPHRAIM. P. M. (Hy. 64 W.)
W. ARXOLD.
117
3=g=t=£=:£:=:3iI=3:rE3— 3=:p=I^^
Lo he comes with clouds de - scend - ing Once for fa - vourM sin • ners slain; Thou-sand, thou - sand saints at -
n a •-•£- :P» - .- ••— m-m*~--m' '.— — *"__"*"_"f " ft_
tend - ing, Swell the [tri-umph of his train, Hal - le - lu - jah, Hal - le - lu - jah, Hal • le - la - jah, God np-pears on earth to reign.
For. Pia. For.
t? E? 9-
118
WORCESTER. S. M.
And words of peace re- veal,
Who bring sal - va - tion on their tongues,
Who bring sal
Who stand on Zi - on hill,
How beauteous are their feet
Who bring sal - va - tion on their tongues And words of peace ro - veal,
m » -e- -g- -»- » _-©- a ~£l_ *_ _ ~&~ £
va • tion on their tongues, And words of peace re - veal, How charm - ing, charm-ing is their voice, How sweet
119
WORCESTER. (Continued.)
-b>— fcr
Zi -on be - hold thy Sa - viour
-a- :£:._«_.:£:._»__ a — -_ zz*~r 1 z~~ • — t~P — I* — ■ — zi z s — m~i
iheir ti - dings are. Zi - on, &c, He reigna, &c.
Zi - on, &c. He reigns and tri - nraphs here.
Zi - on. &c.
lie reigns, &c
ZioD, &c.
King, He reigns and tri - umphs here; Z\ - on, &c. He reigna, lie.
He reignis, &c. Zi - on, he - hold, &c. He reigna, &c.
Zi-on, &c. He reigns, &c.
11 : «.- 9 "
He reigni, &c.
120
ASHBURN. P. M. 7s.
I
Now on
thee
soals de - pend, In
com - - pas - - sion
now de - - scend; Fill our
-/j #5 ■ — 1^ — — — y — A r - — — — — — — •» •»■— J i ■H"*~ T ,~~- ■' "'g| i ™"j — - -1 — -—J — w — — — 1 | "^""l^*^^'^ T "~~ mm ~^~ ~"~* T W — —
P;a.
.F'oWe.
:zzzpzz
(t/Mzzz]=:==:=^iz--Zi=
■—?-
^W-T-P J ■ J P-T-P fezi °—
henrU with thy ricli
grace,
Tune
lips,
-Q-
Tuno our lips To sing thy praise.
W. ARNOLD.
121
./-fliS -:
JOSHUA. P.M. 2-6&4-7s. (Hy. 187 W.)
A - rise my soul a - rise,
Thy Sa - viour's sa - cri - flee. All the names that love could find, All the forms that
3,
i=iyiEliliiklllEbiEE5pEi^iii§!i!PlEfelMBlEiiE]
v «■ #--}_-
love can take, Je - sus in him - self halh join'd, Thee my soul his own to make, Thee, &c.
Hi
m
m
[16]
iliiilPiiilEliSi
122
■ , p, «--_
DERBY. L. M.
.p_-.c2_.__p b — « p
P___.Q_--._P B B_T Q_ -PL, P ■ P .« Q _-- O
!
ni:
Come sing the won - dors of that lave, Which an -. gels play
on ev' - ry chord, Let all be -
w/?
_. _r_ j »t-s T-*--*- _:-t-|z _____: * — __:_ ________________ar~
low, and all a - bore,
With bal - le - lu-jahs praise theic King, With hal - le - lu - jahs praise their King.
trip
V
* MP-m- -•-. f ■§___•_. •_
With hat - lo - la-jalis, &c.
BURNHAM.
P. M. 4-6 k 2-8s.
123
Sing praises lo our King, Sing of his mighty pow'r; Sing how he pleads a-bove For those whose sins he bore, Let all to him their
Let all to
him their voic - es raise, their voic - es raise,
^jgli^-Iiilpppgipft^^il^B^^^g^
voic - es
Let all to him their voic - es raise; And sing, And sing a - - loud his glorious praise.
1r
^Md^^m\^SM^^^M^^WiMSMWiMl
F. _JB«
zlzSgzttgzfezpziS
Let all &c.
their &c.
124
JOSIAH. C. M. D.
Moderate.
«~vi4t • I ' m 0 ■! — 0 • — t-i»-»-T-i»-^-t-f»-F-f-!-
izfczszszizc'zfi'r
:±::±±:z£:
asEe^sfeEBMEaEas
PI^SiII^e]
How still and peace - ful is the grave, Where life's vain tu - mulls past, Th' ap - point-ed house by heav'ns de-cree Receives us
^znzz^zzizazazizizzzzzzzizzuznizzzz^jzz^zzizzzzzzizzzczzzzzi:^^
P. - F.
all at last, The wicked there from troubling cease, Their pas - sions rage no more, And there the wea - ry
P. F.
JOSIAH. Continued.
125
%^MEUEM\^d=i=y^^MWMUEMiEMW^l^iMUUl
pil-grim rests, From all the toils he bore,
PP Ir
And there the wea - ry pil - grim rests From all the toils he bore.
Loud. nr
SHIELDS. C. M.
bzlf-iSSzgtg^
And let this feeble bo - dy fail, And let it faint or die, My soul shall quit this moum - ful vale, And soar to worlds on high.
126 JOSIAH. 7s k 6s. (Hy. 103 W.)
W. ARNOLD.
Jo- Ha let thy pitjing eye, Call back a wand'ring sheep, False to thee, like Pe-ter, I would fain like Pe - ter weep,
r
Let mo by thy grace re - stor'd, On me be all long sufT'-ring shown} Turn and look up - on me
^^bri^-E^zzEiziE
4=-±— t — £* — 9 — p — -t-t-t — -t _:t_b —
JOSIAH. Continued.
127
l^ztiEpz=z?=iz ~
111
111
Lord And break my heart of stone. Tarn and look up - - on ma Lord, And break my heart ef
stone.
^— e — -J-
111
ORLANDO. L. M.
-s-T-o-i-
no more.
2E£
E-ter-nal are thy mer-eiea Lord,. E- ter-nal truth al-tends thy word, Thy praiaa shall sound from shore to shore, Till boos shall risa a
128
■t'-ft
NORWICH.
S. M.
BROVVNSON.
■m-F-»-
;6»"
£3i^lE-S:[izR^-BlzUszEiz^
My sor - rowi like a flood, 1m - pa - tient of re-straint, In-to thy bosom O, Into thy bosom O my God, Pour out a long complaint.
□EC QI^** P — T T~T T~P^ — » t j^i — — ] T tPiP'lT'Pi'P — z|~T~p~ ^PP'jt Pi!- zzz|zii""iz— i°:*z* *T~P f""~i~
BURSTAL.
C. M.
^H3EdBSg^MBBaii
With lore and s« - cr ei rap - turc fill'd, Thy lof- ty name weMI sing, Thou on • ly won-drous things hast done, Great cv - er - last-ing King.
NEW JERUSALEM. C. M.
129
The New Je - ru - sa - lem comes down A
From the third heav'n where God re-sides, That ho - ly, hap-py place,
The
The new, &c. Adorned, &c.
its-:
doru'd with shin - - ing grace, A-dorn'd with shining grace, A - dorn'd with shining grace.
-0- -*- -£- -•-
[17]
130
SHELBURNE. C. M.
#=*TT=
In Zi - on, &c,
And, &.c.
How did my heoit re-joice to hear my friends devout - ly say,
In Zi - on let ns
In Zi-on, &c.
And, &c»
-•-T#-.-«— --T— r
mil # X "TT"1 — I — ■""i"Tl> "^1* — f* ~" f T rf — i ~T *"*"T"»*T"^ — "it "T'f "j»"i> ~~~j5Tafa'- — T~~f — r**~~| ^* — T'l^^Pmf^ri:
., I -•- 'P^j;^; ;#- 'Pu#~ ~p~_ _p
e=33
£&
ill
1 2
And, &c.
all ap-pear, And keep the fes • tal day, In Zi - on, &c
f \
BRIXHAM. C. M.
131
1 "4-S y ?8znzzzzz!izz"*zTZz|z™zzizi zzz
l2 5ZIZZ* ^ZlPZjEZIZpZZZZSZZI
While thee I seek, pro - tect
ing power, Be ray vain wish - es
still'd, And may this
Soft.
con - se
g?ff-ft~ rfz-z ztzp P~t_ ~ z-1~T— F*~T~P — P"T"^ "■' i ~~T — I — zizz — :z~~izz "
r\ la. s» 9 "\ r 9 f9 * a * ••• . O ^ • • • — . ^^ ^ /~\
era - • ted hour, With bet-ter hopes be filled, And may this con - se - - era - ted hour With bet - - ter hopes be filled.
132
STEPHEN'S. C. M.
/Tn
"b'zri'zz^ i:&zzzz@zi:ezz^-1.&Zg'-V-~--£-V-&—'^-I-'-^
Soon shall the glo - rious morning come, When all thy saints shall rise; And cloth'd in their im - - mor -tal bloom, Attend thee to the skies.
T©
S^-r 1 —
fi-^-.-- T
p._
P--P-
DUNBAR. S. M,
Grave.
■aa
i^^^p^iisgiiiiSii|iiiiiiigfiii
E=£3p__*E_tp
When overwhelmed with grief, My heart with - in me dies,
Helpless and far from all re - lief,
To heav'n I lift my eyes.
r
DUNKIRK. P. M. 7s k 6s.
133
Tliat time when I shall enter Up - on a world un-known, My helpless soul I'll venture Up - on his name a-lone, Then with the saints in glory, The
£P5zzrzzziz:|::zjzzzzz*z:ff:i:zz(szfizi:z:zz di:diH:i:zzrzq:i:didz:*zff:i:zi*z^nff"Zo*---=t==--*f*=*;*=ST— =*_*"r
<n
g -» — f -«e -«- T-.p !
u#_._£:
grateful sting I'll raise, And c.haunt my blissful sto - ry, And chaunt my blissful story, And chaunt my bliss-ful story, In high se-raph-ic lays.
wmgmimmmi^p&wFTWfT^Bm
134
DESERTION. L. M.
ter - rial source of
ry
j°y.
Well may thy praise our lips em - ploy,
While in thy tern - pie we
ap
pear, Thy good - ness crowns, Thy good • ness crowns the circ - ling year.
QUEENBOROUGH. P. M. 8s & 7s.
135
:r — — j»-»-|»-t-|» — P-£^|*-»y-T-j»--ff-»— £»-j j*— ^-i )-„-_—,_— 9 — 1»- — y ,» — yj — » '|P~- *; — P~p-ri»:~~«~g-r
Heav'nly Father, we would praise tbee Like the glo - rious hosts a - bove, Songs of tri - uraph we would raise thee, Till we meet in per-fect love.
_tr +r
_ _.._-.__.-.*
Till we join with saints before thee, Till with them we take our place, Till like them.Till like them,Till like them we can adore thee, We will sing thy glorious praise.
-P,a' :ll: :ll: ^
mf J
136
rT'-artf-^TT-l-T-
EATON. L. M. or 6 lines.
I
Come gen - tie Pa-tience! smile on p;iin, Then dy - ing hope re - vives a - gain, And wipes the tear from sor - tow's
■#"*j
ipigS^HiirgiiiilrSiliiiiliSliliil
eye, While faith points- up-wards to the sky, And wipes the tear from sorrow's oye, And wipes the tear from sorrow's eye.
TUNBR1DGE.
C. M.
137
a
And grateful tribute bring, Let an - gels hear the note9 ye
Come let us all u - nite to praise, And grate-ful tribute bring, Let &c
And grate - ful, &c. And grate-ful. &c. Let an-gels, &c. "*
. , _#_a_:*_i«. m .£.
Let, &c.
raise, Let angels, &c. And strike their harps and sing, Let sing.
Let sing.
■ — e— ^_i-t__e — , — ±.:_ — e — ^ — j, — j J.-;.** 1- — (-- i.gi-^ — it
[18]
And Kinke, &c.
Let an - gels, &c.
And strike, &c.
138
LENNOX. P. M.
Ye tribes of A -dam join, Wilb hear'n and earth and seas, And of- fer notes di - vuie, To your Cre - a - tor's praise.
v ~ "~ Ye, &«.
1 2
Y© ho - ly, &c.
Ye ho • ly throng of nn -gels bright, In worlds of light be - gin the song.
*^ Ye ho . ly, fca.
tranquillity, l. m.
139
•
p.
Comehith - er all ya wea-ry coals, Ye lieav-y la - - den Bin - nert come, 1*11 giro yo«
Q Q •
H^^igiilii=|p^g^p^^^^^^|^p^^i
F.
rest from all your toils, And raise you to my heav'n-ly homo, And raise you to toy heav'nly home.
MO
CALCUTTA. H. M.
O'er those gloomy hills of darkness, Look my sonl, be still and gaze, All the promis - es do trav-el With a glo - rious day of grace. Blessed jub'lee
t(Q-*r - l-pjr *-
i !• z — zj^ ^.^.^.^ ^.pi 1 3 ^ ,*ie:te.fete t.^tfe.te fetetir:* _:biz:_:si_
'$• Let thy, &c. Let thy, &c. Let thy, &c.
:ibts*£ E& ra=*:?r^*^lt^-P--!=f FeJ==i:?*p£BP**:i:£ P£rf :-£e P :e ?£*£•£ PlIMCrtUKSMC
Blessed jub'lee, let thy glorious morning dawn,
Let thy, &c.
Let thy, &o.
Let thy, &c.
Let thy, &c. Slow.
:±=St3cSzx^i:rrrazE zirrfgBHfcEESSHI?
Let thy, &c.
Let thy, &c.
k
■r£££j£fiw=
i — i*
Let thy &c,
^rnimm
Let thy, &c.
Let thy, &e.
GLASGOW. S. M.
141
Come ye that love
Si!
the Lord, And let your joys be known, And let yoar joys be known; Join in the
Song with one ac - cord, While ye sur-round the throne. While ye sur-round the throne, While ye sur-roond the throne.
While ye, &c.
142
CLIFFORD. C. M.
All gracioat King who reigns a - bore, To thee oar hearts we raise; And till we meet in per - - feet
ISiiSiP^Slflii^liiilliliSiS
mp f ^ , — s
love. And 'lill we meet in per - feet love, We glad-ly sing thy praise, We glad - ly sing thy praise.
FRANCIS.
C. M.
145
Let high born Ser - aphs tune the Lyre, And as they tune it fall, And as they tone it fall, Be - fore his
0. — ±. ^ — ^-aC— Cn L.LJ — &-■*■ — •— • — -l t? — * rMMMr~l — — ^-J-t 1 — J—l — *-—\ 'a#—-0 — J
face- who tunes their Choir, And crown him kiag #f all, Aad crown kim king- ef all.
144
ABLOE. S. M.
CORRELLI.
r($.*iL-.zz zip i-©zz&i ©. zzjizzz
Si£E|Elzz|l3EE^^
3?se=e:
O bless-ed souls are they,
Whose sins are cov-er'd o'er, Di-vine-ty blest to whom the Lord imputes their gnilt no
W — a — ^.-i-e — d-*-r. — s-T-§ — §.i._itiz§ 1 1_® — d:i_d_©:t____:ie:z::d:i _:_a:t_az: a" "i_ft::l_
d-1-©— Q-J-&
Im-putes their guilt, their guilt no more.
more, Di - vine - ly, &c.
Imputes, &c. Imputes, &c.
HORSLEY, L. M>
145
* -^—^ -p- -£-
The heav'ns de - dare thy glo - ry Lord,
In ev'
r7
star thy wis - dom shines, Bat, when cur
»l
thy, &c.
(&--*-
eyes he - hold thy word,
We read thy name in fair - er lines. We read thy name in fair - er lines.
We read, &c.
T_Q
crTTf^r-Tr-r-rrir-is
We read, &c.
[19]
116
STAFFORD. S. M.
■^9i?
_*„ ,
*£
~a~xzoT.
m
See what a
lir - ing stone,
The build -
f
ers did re - fuse,
Yet
Yet God, &e.~
Yet God, &c.
P-^-l i*»-
ln spite
of en - vious Jews.
Yet God hath built his church there - on,
God, &c. Yet God, &c.
MANCHESTER. L. M.
147
:zis:s
Sess
To thee my ev - er - last - ing King, Fain would my soul her tribute bring, Join me ye saints in songs
il her tribute bring, Join me ye saints in songs of praise, Till
Inst. • - - » ^^ m * + ■- ~ »
blest with more ex - alt - ed lays, Join me, &c. Till, &c.
Allegro.
-e- -©-
148
Moderato.
*/ ri 1--
MISSIONARY HYMN. P. M.
L. MASON.
From Greenland's i - cy mountains, From In - dia's co - ral strand, Where Af-ric's sun-ny fountains, Roll down their gol • den sand;
liiiiiiiEiiiEii;
izz9ztEz^—iiz^zz^—^zr.zztz^—i~^zh^—f—^—izi-dz:
1
From many an an - cient riv - er, From many a palm-y plain. They call us to de - liv - er Their souls from er-ror's chaiD.
vt/
SILVER-STREET. S. M.
SMITH.
149
££3z«ipzjzpzzz:ezjipz{^
Come, sound his praise a - broad, And hymns of glo - - ry sing; Je-ho-vah is the sov' - reign Lord, The u - - ni - ver-sa! King.
_•
\ /-\ Ado.
Praise ye the Lord, Hal-le -- 111 -jah, Praise ye the Lord, IlaHe - lu - jah, Hal-le - lu-jah, Hal-le lu -jah, Hal -le-lu-jah, Praise ye the Lord.
_•:_:.«_
BROOMSGROVE. C. M.
- -•- p -0- J -•-
#33:
feg^i^HgBS^i^iaisasi
IIUDDERSF1ELD. C. M.
^^^^^^^^^^^s^^S^^m
tk~ ft -9-f-o — '- t-e 1
if ^ i-Q-P T-a ,n r —
,^31=f: iEzpz®EQz:bllii^zpz?{pe- gl=pzzgz^z:|:§z3 g:|i§Eg|:^:rfl:©3
for a shout of ta-cred joy, To thee the gov' - reign King, Let ev' - - ry land their tongoes em - ploy, And hjmns of triumph sing.
GLASGOW. L. M.
151
./-ft:* -1-1-
Hath
This life's a dream, an cmp - ty show, But the bright world to which we go,
rl'-fi:*
* '
and
joys sub - stan - tial ana sin - cere,
When shall I wake, When shall 1 wake and fimf me there.
mmme^^^m^gg^m
152
EBENEZER NEW. C. M.
.__ p.
p •_
Let oth - era boast their an - cient line, In long sac - ces - sion great, In the proud list let
lf#=P=
tt •
m
Antl, &c. And, &c. And, &c.
-roes shine, And monarchs sweel the state, And monarchs swell the state, And mon - - - archs swell the state.
u~
And, &c.
OVERTON. C. M.
153
*— * An_fYole vk- 1 1 I hni- or A nrralia iv 1 1 1 hnv - or rnnn/1 m\r
— • A^ E- — (R — A- — —■. ^— — P^-^ _^^N ^"< . ^n — ^fc _>— - |> — _ ^^^mm — — _ | • m ^
Sweet lo re • joice in live - ly hope, That when my change shall come,
An-gels will hov-er, Angels will hov - er round my
-H-t-H r= TsPs-rT =-t 1
::1£ip=:
An-gels will hov-er, An-gels will hov-er, Angels will hov-er round my
•S-
Angels will hov-er round my
rfe"-^P-?
bed, &c.
And waft, &c.
tr lnf m -Q- p _ 4r
And waft my spirit home; Angels will hov - er round my bed, And waft my spirit home,
bed, &c. And waft my spirit home.
154
If*
BIRMINGHAM. L. M.
— zt p — t-i-P — t-i-i — -h, — t — P-i-p — - — t — i — t 1 — i — P i-
>fr
zirzz^zzz—zz^zizEzzzzz:*
When shall I mount nnd soar
way,
To the bright realms
of
end
PI
less
day;
I
!• !•-
W:
! S?-
9 •
*zx=g:
?z=zzs
=1^=
-P— j-f— r — P-J*
4r
And sing with rap - ture and
nd snr - prise, Thy lov - - - ing
kind •
zpzzszi
n ess in
the
skies.
:t:zzE:
O '
— »£:
-@-
Hi
mm
PARTING. P. M.
CLARK.
155
V
tTT ~ J^Z- — I I_^E A A ft-"!-- ~ # #'{--• 0 — -3— [-A- — &— -• 0 I-- — - - -0-1 — ff — A-
ZZ — I^I^ZtZIu't-t— tZZt— fc:tl|ZZI5ZZ|_~Pi:fcz:t^
Lord dismiss us with thy blessing, Fill our hearts with joy and peace, Let us each thy love pos-sess - ing, Triumph in re - deein-ing grace.
.y
-#--
/
Sizzzzzzzizzzzzztzzzzzzzzzzzizz zzizzzzzzz'i du—ttz: fzz*ri" pzzKi8ziz-zze=ir~"^"',~^— 1*— (D~^""'~
Trav'ling througli this wil - der-ness, Trav'ling through this wil - der - ness.
O re - fresh us, O re - fresh us with thy pres - ence,
156
FAILSWORTH. C. M.
To
— &k=±z
yon dear world of light and bliss,
bove the
zazztzzi
S
5E=
©-r-f
P— -
EEE^I^IIPPeI
star
■tr
skies,
If
I
I
"~P~T a~^~P 18-*!!-
— Q
— -r— ©
_ _^.» 3L_Z@.l .&'— — ~ — <a « —
To join in songs of love di - vine, My long
ing
soul WOl
ild
rise.
"17-1-1
s~ ■ — ^
«Z*"]
:_*_ff_|»_»:EL_
J^=^'-J
t-u-L-E-t-:— §
l a
DANIEL STREET. P. M-
/7\
157
&9-
prP:^:i?z=s=B~§zi:5~-— :_ZTi-z|::s:3sipz§:i:°22-|::®i^:i"-®is:
-G — m-T-=
Lo God is here! let us a - dore, And own how dread - ful is the place, Let all with - in as feel his pow'i And
zi^zzzizzz
b
ESSE
^ p_T_
ifli|i§g;ii^^^^^^^^^g
e£fe£EgEiEa==Efcs=5:E=gifei
©p-i
p T_r ,.,
5r=2=r=g:Ei^fe=Ef£!!^
si ient lie be - fore his face, Who know his power, hi3 grace who prove, Serve him with awe, with rev'rence love.
158
GILES'S.
P. M.
=^:P=
■I
Glo - rious thiugs of thee are spo - ken, Zi - on ci - ty of our God, He whose word can - not be
___ -p;_ jfi~ »_ di)TH
-*.
>±fcz
brok - en, Formed thee for his own a - bode, On the rock of a - ges found - ed, What can shake thy
GILES'S. Continued.
159
Zfczfezfc*L=s=rzP=pz^
sure re - -pose, With sal- va-tion's walls sur-round -ed, They may 'st smile on ev' - ry foe, Thou may 'st smile on
/ P * /
ev'ry foe.
|iE|^lgp^lli|Ei|E|^siip|ggi|?gfgoililllil
-fcr-
ZION. L. M.
_Lt:_.ti] — i — .pTt:_pil_:(i:_i_:_i|i4_
PC
h@I§
Broad is the road that leads to death. And thousands walk together there,But wisdom shows a narrow path, With here and there a Irayel-Ier, Witn here and there a traveller.
160
WHITBY.
S. M.
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Blest are the sons of peace, Whose hearts and hopes are one,
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Blest are the sons of peace, Whose hearts and hopes are one, Whose kind de — sires to serve and
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please, Whose kind de • - sires to serve and please, Through all their
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ac - tions run: Through all their ac - tions run.
/
WAYNE. C. M.
161
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-M
My soul come med - i - tate the day, And think how near it stands,
"When thou must quit this
When thou must quit this house of clay,
When, &c.
house of clay, And fly to un-known lands,
When thou must quit this house of clay. And fly
to un-known lands.
EBE!EgE|£EE
[21]
162
BERWICK. L. M.
R. STRACHAN.
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Mezzo Voce.
Tutti.
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Sweet is the work my God my King, To praise thy name give thanks aud sing, To shew thy
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HAMILTON. 10 & 11.
163
Affoiluoso.
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Tlie day i3 far spent, the ev' - ning is n'ghj When we must lay
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Great God? we sur - ren - der out dust to thy care, But O! for ihe sum - mens our spir - its pre - pare.
t A p_ v_ v .
164
ROMAINE. C. M.
O let me join yon rap - tur'd lays, And with the bless - ed sing,
For I
Song9 of end - less praise, Would mag - ni - fy their King, Would mag - ni - fy their King.
/'
TIVERTON. C. M.
3-^; — T-n-n-Tn-Hf F=-cj-t^ — r-TP-P^F-;=;-F--;=;f*-|,
165
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All gracious King, with songs of praise, I'll in thy strength re - joice; And, blest with thy sal - va-tion, raise To thee a cheer-ful voice.
St. BRIDGET'S. C. M.
^g|=^PpE^^|^^f^Ep^f^^^|^i^^E^p
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Briglit an - gels strike your loudest strings, Your sweet-est voices raise; Let Heav'n and all ere - a - ted things, Sound our Im • manuel's praise.
166
UNION COTTAGE. S. M.
Hark, &c.
Hail sacred friend - ship, hail, What pleas - - - ures from thee spring, Hark how with notes refined by thee,
What &cT What &c. Hark, &c. Hark, &c.
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Hark, &e.
Responsive, &c.
Hark, &c.
Responsive, &c.
Hark how with notes refined by thee, Hark how with notes refined by thee, Res - pon-sive voices sing.
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SCOTLAND.
12s.
167
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The voice of free grace cries escape to the mountain! For all that be
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168
SCOTLAND.
Continued.
St. BARNABAS. L. M
Behold the paths which mortals tread, Down to tho regions of the dead, Nor will the fleeting moments stay, Nor can we measure back our way.
ss^^^nensii^i
CYPRUS. C. M.
169
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To our Re - deem-er's g'o - - rious name, A - wake the sa - cred song, A - wake the sa - cred song. O may hia love
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O may his love, O may bis love im - mor - tal flame, Tunc ev - Vy heart and tongue. Tune ev - ;ry heart and tongue.
[22]
170
K1RSAL MOOR. S. M.
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Far as thy name is known, The world de - clares thy praise, Thy sainta O Lord be - fore
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throne, Thy saints, &c.
Thy saints, &.c.
Their songs of hon - onr raise. Their songs of hon-our raise.
*-?:__
EXULTATION. C. M.
171
Ye right - eous in the Lord be glad, In him do ye re - joice, All ye that np-right are in heart. All
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ye that up - right are in heart, For joy lift up your voice, For joy lift up your voice, For joy, For joy lift up your voice.
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172
THE VESPER HYMN.
Ju - bi - la - le, A - men, A - men.
Verse lit. Hark! the vesper hymn is stealing O'er the waters soft and clear, Nearer yet and nearer pealing, now it bursts upon the ear, Ju - bi - la - te.
Verse 2d. Now like moonlit waves retreat-ing, To the shore it dies along, Now like angry surges meeting, Creaks the mingled tide of song.
Ju - bi
la - te, A - men, A - men.
J
Ju - bi
la - te,
A - men, A - men.
Ju - bi - la - te, Ju - bi - la - te, A - men. Further now, now further stealing, Soft it fades up - on the ear.
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Ju - bi - la - le, Ju - bi - la - te, A
men. Hush a-gain, like waves re-treat - ing, To the shore it dies a - long.
Ju - bi - la - te,
men,
STAR OF BETHLEHEM.
7s.
173
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Lo the Eastern Ma • gi rise, At a sig - nal in the skies, Bright - er than the bright - est
gem
ipza
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ti?IE3;E3zIE^E=EIEiz=^E|EiEFE^iE|EgE»E|E
s. n« jS; 0 a
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Shines the star of Beth - le - hem.
:zbzz:n:
Bright - er than the bright - est gem Shines the star of Beth - le - hem.
174
ITALY. L. M.
Amoroso.
liililillillii
Swee
Sweet is the work, my God my King, To praise thy name give thanks and sing, To show thy truth by mom-ing light, And talk of all thy works at night ; Sweet
=§i^EiEiEi5?:iii~?:iE!:E*:&
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is the day of sacred rest, No mortal cares shall seize my breast, O may my heart in tune be found, Like David's harp of -solemn sound, Like David's harp of solemn souud.
IS
LYDIA. C. M.
175
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S
See nations has-ten to his call, From ev'ry dis - tant shore, Isles yetunknown shall bow to him, And Israel's God adore,And Israel's God a - dore.
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CANAAN. C. M.
rr*-9i#
Unite my roving thoughts, unite In silence soft and sweet.
And thou my soul sit gently down, At thy great sov'reign's feet, At thy great so^'reign's feet.
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176 TRUMPET. C. M.
Motleralo Stacculo.
Symphony. Let ev-'ry mortal ear attend And ev - 'ry heart re-joice, And cv'ry heart rejoice. The
Tlie &c. With &c, With &c.
The trumpet of the gospel sounds,Wit!i an inviting voice, With an inviting voice.
The, &e.
With, &e
T-__^:-*_
With, &c,
• -.»•;
The &c. Of the, cfc. With &e. With, Fc.
HARMONY. P. M.
A. ELLIS.
177
Wake all ye soar-ing throng, and sing; Ye cheerful war - - biers of the spring, Harmonious anthems raise To him who shap'd your
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finer mould, Who tipt your glitt'ring wings with gold, To him, &c
:- *
And tun'd your voice to praise.
- [23]"" " J " . ' ~ " " ' -Q" -
173
MARSEILLES.
Spirito.
4-6s & 2-8s.
Pia.
BEAUMONT.
in
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Blow ye the trum-pet blow, The gladly solemn sound; Let all the na - tions know, To earth's re - mot - est bound;
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For.
Pia.
Trebles.
For.
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The year of Ju - bi - lee is come, Re -turn, re - turn, re - turn, re • turn, Re - turn ye ran • som'd sin • ners home.
FREDRICKTON. P. M.
179
_.,._» m
-•-P-r
O love di - vine, what hast thoQ done? Th' im - mor - tal God hath died for me;
-P-1-P--.--Z-!
The Fa-ther'g co - e - ter - nal Son,
Bore all my griefs up - on the tree; Th' im - mor - tal God for me hath died, My Lord my love is cm - ci - fied.
3E=i^=p=EJ=
— *— tfzlfz©:
180
FALMOUTH.
S. M.
When in our sins we lay, Thou would'st not let us die, Be - cause thy love had fix'd a
/
day, To bring
sal
tion nigh, To bring sal
tion nigh, To bring sal - va - tion nigh.
— — ^ \— —10— ■■■■ aT~ 0 <~ " 0 "—" " '• ' ""' U«b»™— - — -H —
St. JUST.
L. M.
181
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Saved from the gnilt and power of sin, May we our heav'n on earth be - gin, And join that choir in no - blest strains, Where harmo ■
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ny for - ev - er reigns, And join that choir in no-blest strains, Where har mo - ny for - ev
ev - er
reigns.
III
?E|SE|Ei=^
182
DISMISSION. P. M.
Now dis-miss us with thy blessing, Bid us all de - part in peace; Still on gospel manna feed us, Pure se - raph - ic love increase.
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Fill each breast with consolation.Up to thee our voices raise, When we reach our blissful station.Then we'll give thee nobler praise,Then.&.c. And sing Hallelujahs to thee our great king.
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DISMISSION. Continued.
183
^^^^^^^=3p^^S^^^^^^^^^^^^^0^^^^^^S
_•_!• P-«_
TO3F
King, For ev-erand ev-er, For ev -er and ev - er, Hal-le-Iu-jah, Hal-le-lu-jah, Hal
le - la jah,
DUKE STREET. L. M.
Let ev-er- last - ing glo-ries crown Thy head, my saviour and my Lord; Thy hands have brought salvation down, And writ the bless- ings of thy word
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EDOM. C. M.
WEST.
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O - ver the heav'ns he spreads his cloud, And wa - teis veil the
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4Tznz ®
Willi songs and hon-ors sounding loud, Ad - dress the Lord on high;
O - ver the heav'ns he
sky, Andwa-ters veil the sky, lie sends his show'rs of blessings down, To
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spreads his cloud, .And wa - ters veil the sky, He sends his show'rs of blessings down To cheer the plains be - low, He makes the grass the
He sends, &c.
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He sends, &c.
EDOM. Continued.
K
185
mountains crown, And corn in vallies
grow,
lie makes, &o,
And corn in Tallies grow.
He makes, &c
PLEYEL'S HYMN. L. M.
And corn in vallies grow.
TLEYEL.
Very slow.
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So fadestlie lovely blooming flow'r, Frail smiling solace of an hour; So soon our transient comforts fly, And pleasure only blooms to die.
[24]
186
AMHERST. H. M.
•#-
—I — I_[Z — c.
1111
'—F-f-i
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Ye boundless realms of joy
Ex - alt your Ma
9.
ker's fame; His praise your
ploy
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A - bove the star ■ ry frame, Ye ho - \y throng of an
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PSALM 119th. C. M. smith. 187
My soul, &c.
Had not thy word been my de-light, When earthly joys are fled,
My soul oppressed with sorrow's weight, Had sunk among the dead. Had
v—
My soul oppressed with sorrow's weight, Had sunk among the dead, Had sunk a-
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My soul, &c.
Had, &c.
Had, &c. My soul &c.
My soul, &c.
mong the dead, My soul oppressed with sorrow's woight, Had sunk a - mong the dead, Had sunk a - mong the dead.
188
OCEAN.
C. M.
SWAN.
Thy works of glo - ry niigh-ty Lord, That rule the boist'rous sea, The sons of courage shall re-cord, Who tempt the dang-'rous
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At thy, &c.
way,' At thy command the winds a - rise, And swell the tow - 'ring waves, And swell the tow 'ring waves,
OCEAN. Continued.
189
■z—z~-z^zr—^zzzB—-^~~C—Tzf:zr—^zr—ztzz z£^=izpf=i?=:=z®zzi=|"z==::pz:
The men as
ton - ish'd mount the skies, Ami
sink
ping graves.
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HOPKINTON
\ziz:zt:
L. M.
"WOOD.
H-T-i"
iizlz zz:*:ii-|:f £z:tz.0
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Death like an o - verflowing stream, Sweeps us away; our life's a dream, An empty tale, a morning flow 'r; Cut down and wither'd in an hour.
:£::sz:o::iEz:£z:*:i:;
DR. THOMSON.
190 REDEMPTION. C. M.
'Tis fin - ish'd, 'Tis fin-ish'd, was his lat - est voice, These sa - cred ac - cents o'er. He bow'd his head, gave up the ghost,
0\ /* _ _
And snf - fer'd pain no more, And suf-fer'd pain no more. 'Tis fin-ish'd, 'Tis fiu-ish'd, TheMes-si-ah dies, For sins bat
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REDEMPTION. Continued.
191
not his own, The great re - demp-tion is complete, And Sa - tan's pow"r o'erthrown, And Sa - tan's pow"r o'er-lhrown.
LEBANON. C. M.
Lord what is man, poor fee - ble man, Born of the earth at first, His life a shadow, light and vain, Still hast'ning to the dust.
192
St. ASAPH. C. M. D.
.a «_
-»- -o-
5 • » • _ • ft_.ft_
Q
How bright these glo-rious spir - its shine, Whence all their white ar-ray, How came they to the bliss-ful seats Of ev - er - last-ing day, lo!
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these are they from Buff' - rings great, Who came to realms of light, And in the blood of Christ have vvash'd, Those robes that shine so bright.
izzsr^
W~l
— -tz --¥■*-*-§-*— »-£-?— * — * — E=EEf«-zd-i~3~i~"~ ^— 3zJ-szi=iizSzzf*:J:*zrs=:i=3:f=5zg:Jt
— g — ^--h — °~; ~z~r'f~! — I ■ — ^~"*:d~^ — rjr'g zz^zzg~gztz?zg:-i | — i-.jj-zzr — *-J-d-+-;|*
fE^lJfe^i=i|Eg|E|f!iEfeiE|||l^
if;
S=Pfp
EXHORTATION. L. M.
193
PF" "IS-.
r^. m- -u p_ pi « ._ p_. -Jr.*. T . , ,
Now in the heat of youth- ful blood, Re - mem - ber your Cre - a - tor God; Be-hold the months come hast'niDg on, When
m-
you shall say my joys are gone, When you shall say my
-ca-
ws
gone,
When you shall say my joys are gone.
mmM^m^^Mi^^i^^~^^^^mwM\
J. STEPHENSON.
194 PSALM 34th. C. M. (WILTSHIRE.)
Through all the changing scenes of life, In trouble and in joy The praises of my
**-
The praises of my God shal
The
-©- -•-•-
if
The praises of my God shall still The
My heart, my heart, <!cc.
still, The praises, &c.
-0- -©-
»__...— p — p p._*»0_ -k__ j_ -< r'~T — l_ 1 — T"t~ t — t ' — X~ I" — t — T'C_ •_T~D~i — D~l~
God, The praises of my God shall still, My heart and tongue em - ploy, My heart and tongue em - ploy.
_Q_,-P
:i¥
The (liaises of my God shall still, My
and tongue em - ploy, My heart and tongue em - ploy.
Trais - es of my
God shall
-•- -•• -•- -m- _
jliilliEiiE!
still,
:azzz
My heart, &c.
, :£Ei
~^
J.
BRADFORD. C. M. 195
-# - h ' I- -^ I- -+- - -"* -<- —
•#-T-s-r-- TS-
P-Qr.
O thou my soul do thou re - turn, Un - to thy quiet rest, For largely lo, the Lord to thee, His boun - ty hath ex - - prest
^S^:^2^i j:^ jzzqf =@— z^z^zgzi^Z|=|z=|-^~rpi=f±qr^iz \-^rp^—^-^Tqj\^Zp?^\ zjzz^pzzf
fe~x y ■•— • -fe — -j4 — j F~f i ~~' 3~"s' '^T' ~ft\ ~^ ~E~ ~J~ *~ 'Z® — ~ZZZ -JZZ — zrziiz- Z*I §Z«" "Z~ zr
,„u _1!_ "* _^c
For my dis - tress - ed soul from death, De • liv - ered was by thee, Thou didst my mourning eyes from tears, lUy feet from fal - ling free.
SzzaidzH--z=zd=zrz:=a"iz==zzZ":~^— o=f=*z^=3-^T:~— -f -^-^~^~t ^-— -r: t^"—— i^-=* s ==: ^zd t"^-—-!" r~E~ilf
196
r
i
BRIDPORT. C. M.
:»z?:zz?z*z: ^ifeEEEE: izpzzS: :zgzzf z=3zii?£^z,zPzfe§a5diE3
Ye
i§zE£=z=|E
ee--ei-i
■vea - ry pil - grims hith - er come, And songs of tri - umph
^llll!i§sliiii§EiEpfii!!E
— §zzE_^ ;Iz»_«
-O0-L-,
raise; For Je - sua
llffiir^ElJE
•nzzz^=SLz^Em=
rfizzz-zzztzz^zz—
a__ . , i j i ,_> ^^ __^ . __ ^ ^ ,
r/^:zt5zzzizzzzn-iz/==ir — zfczfc izzlz^i^
§zz"5EfeEFe:^=z=S-fE^i!=!-:
booq shall take us
mf _ _ _!r_
home, To
his end - less
5=
praise, To sinj
his
end-less
=^|^5=gEfE|sEE|^||E|Ep|^§E=*s||E||:
111
m
praise.
m
«3t*7.K -1-r— -
GREEN'S HUNDREDTH. L. M.
197
yi^S^Iifeii|iiS§i^liSiiSsliiif5l
[==*=
+r
■#:.#»-
Q-nrn-nr-©-?
fweet is the work my God my King, To praise thy name give thanks and sing, To show thy love by morning light, And talk of all thy truths at night
_ ... Ik tr
nnTt_#75: © rQ_;=;"r — © r r 1 — I~t ©r — ©r It i~©~t 1 T T LM" — 3 — I r T T 1~*
DEVOTION. L. M.
READ.
Sweet is the d iy of sa-cred rest, No mortal care shall seize my breast, O may my heart in tune be found, Like David's harp of solemn sound, Like David's harp of solemn sound.
ggfflffff^f
198
"-^-1-
=-£*irzeZi;£— =
CONCORD.
L. M.
BELNAP.
zaz+ipi:
:t=r
-•- -©-.
i=IwZlI*Z=*=P
_ HI
'Tis finish'd! ao tho Sa - viour crv'd, And meek - ly bow'd his head and dy'd;
'Tis finish'd; yes, the
-• »-
B5i?3s=
2 nzzzlzTZ~— — i~l* zl~ziz£z~ziz~zz ~zrzpzzi£ziz*z~zz zzizq — zz1CT~z~"T~"~z~,.~~T~f — r — p — ~~T
race is run, The bat-tie's fought tho vie' - try won, 'Tis fin-ish'd; yes, the race is run, The, &c.
SOLITUDE-NEW. C. M.
WEST.
199
fi
i
Fly like a lim"rous trembling dore,
CKaci^^:pq=ei4^ttJqKaBS==3=i=======j==i= :==*i__£=k=^P£E_pr£_i
«F
My refuge is the God of love, My foes insult and cry Fly like a tim'rous trembling
•u
_ _ . a "•' ^
J . 1-|- — — e-'i-«_E_ -::L__^_ff_^i^. (ft_0._qi_H_.il ::_*_j_^_i-i_^_0_0_s: ::_?__: — •-^-izp-ZLzfc
Since I have placed my trust in God, Why
*__,_-._».
:_«:-£:<
I
dove, Fly, like a tim'rous trembling dove, To dis - tant moun - tains fly, Since I have placed my trust in God, A ref - uge always nigh,
zT.zszfczszp|izpzz£:i::~zii_:zzi£ri_Tf_^
my trust in God, A ref -uge al-ways nigh, Why
200
SOLITUDE-NEW. Continued.
shouldl like a tim'rous bird, Why,&e, Why,&c.
*P" , • m m m :£* • !•_"&• , ~- S ft-3 _ _ _
Why, &c.
A tim'rous, &c.
Why,&c.
Why, &c.
sliould, &c.
A tim'rous, &c.
DANVILLE. C. M.
WILUAMS.
O what immortal joys I felt, And rapturea all di - vine, When Jesus told me 1 was his,And my beloved mine,
And my be-lov -ed mil e.
Afezliiziii.-zisii-zpzz|pz^5:z-ppzi-:qiiz^i®z-zi$iz-zi^
MALTON. C. M.
201
_^-r_»_T_ ^_-p#,»-i
O that we were where
could view, The glo - ries
-p—z*—i—t±zr—tzzzz»~t^z]
of our King, That we might
zzzJzzzj-3zizzzzzi:zi-^ziz:z|zz qrzTz;
mp
mf
- • ._£ • -m-- Is -£ »~ — P- -
love
An - gels do, That we
4r
like them might
sing,
That we like them might sing.
r N mf
mp .m
[26J
202
CALVARY.
P. M. 8, 7 & 4.
:£zgz^zi:|zEzz:*ziz:E=*z*:J:*z*zzg :: ::£z J=i:L?==^z|z?=:EE|i©z3zQzz:pz{EJ
Through a des - ert wasto and cheer - less, Though our des - lined jour-ney be, Render'd by thy presence fear-less,
_, ft, — P— - (*— P ©
"V
^;s;iEf=E|i=Ep|
-r-g:_- ,-,
We may er' • ry foe de - fy, Nought shall move us, Nought shall move us, While we see our Sa - vionr nigh.
EXHORTATION. C. M.
203
Ye Is
— b-W-
ern Sea, Re
lands of the
-fcr
North
joice, the Sa - viour Reigns;
His
$^EfE|^^E|zJEgI±^z|.:iEfE3=Jj
His word, ice.
His word, &c.
And mountains, &c.
word like fire pre • pares his way, And mountains melt to pit
His, &c.
And, &c.
His word, &c.
mm
204 BELVIDERE. C. M.
|lii;§iitiisi!li^SiiiiiliSii^iiiiii
o--h"-r:Q— 1»— •-T-P— p-r-P^z^rT'^i — * I e — ®~]~F — ^-f l*r~ f>~'[zf*—~^--Y--%-'2'-\-f~f"-m~~['z0 T'o~*"T~P — io"1
llarkthe gladsound the Sa • viour comes, The Sa - viour prom-ised long, The Sa - viour promised long, Let ev' ry heart pre-pare a
:*»--
Tl_T_oC__.
^^iSgiiiiyiE^l^^^llfeftliS^
And, &e. And, &c.
;-fa-p-— />-T-:^- q-t:6— p-j-p — p -T-p-— t — -t T-- -• i»-»-» -grzl9 *:t p- — |zi:p **~:§:3"*
throne, Let ev' - ry heart pre-pare a throne, Let, &c.
Aud cv'ry voice a song, And, &c.
S^z^E3:JE3E3E
^_jz \ ^ r h ~1
zzi z**ifsz*i£sizzi^zzzziii;;z:"rzz':iziiz;zzz*i3zi-_iq
Hi
And, &c.
And, &c.
Aud,&c.
fi
SHIRLAND.
V
S. M.
STANLEY.
205
-ft-r--
-P--
z£=fi=«
•b p.
r-H-S-
Be - hold the morn - ing sun, Be-gins his glo - riouswny; His beams through all the na - tions run, And life and light con-vej.
iElifl?lii3JlfillillilliBiifi=ili§liliiEilllll]!
ACTON. L. M.
mmmmmmmmmmw^mm^m&£
Farewell bright soul, a short farewell/fill we shall meet again above, In the sweet groves where pleasures dwell, And trees of life bear fruits of love, And trees of life bear fruits of love.
206
PSALM 46th. P. M.
CHANDLER.
He sends, &c.
The Lord hath eyes lo gi?e the blind, The Lord supports the sinking mind,
He sends, &c. He sends, &c.
He sends the lab'ring con-science
«T_„ •
-#- _ -»- • • • *•- -p- » •*'§"« " "* "P~l*,* —is— _2 —
peace, He helps the stranger in distress, The wi-dow and the fath - er-less, And grants the pris - 'ner sweet re - lease.
li^^s^^p^^^^sss^rtii
CHINA.
C. M.
SWAN.
207
Why do we mourn de-part-ing friends, Or shake at death's alarms; 'Tis but the Toice that Je-sus sends, To call them to his arms.
^^g:=:=zgi:azp:i.^
GRAFTON. C. M.
if
........... ... _ . p -©-
How oft, a * las! this wretched heart, Has wander'd from the Lord! How oft my rov-ing thoughts depart, For - get - ful of his word.
-©— L
203
NEWCOURT. L. P. M.
H. BOND.
Andanle.
S XI ~
4Jtr — -» — » — t-»r i»-t-»— m — »--- |-»-t->— g g — jS-t-?— » — gvi-y-T— » — e — g"y"[ft':^::"r:E~^"gzzjE~i:
Great God, the heav'ns well or-der'd frame, De - dares the glo - ry of thy name; There thy rich works of won - der shine;
r^r . «-•. 1 !--» —
SEiEtEEfezEEEEcEJEipE^EFEzjE^iE-EE^
A thoa - sand star - ry bean - ties there, A thou - sand ra - diant marks ap - pear, Of bound - less pow'r and skill di -vine.
^^^^^^mM^^^^^^mEmm
ASHLEY.
C. M.
DR. MADAN.
209
Allegro.
Sal va-tion, O tlie joy - ful sound! 'Tis pleas • ure to our ears; A 90V - 'reign balm for ev - 'ry wound, A cor-dial for our fears.
CHORUS. Jlssai Allegro.
--•-•-• -I--- 1 1 r— 4P— I 1— htF"h- \—P [--!•" l»-|»Jl» 1» 1»-» + = -1 Fl-I Ff S-l >£. 1 M
-«-£.
Glory, honour, praise and power, be unto the Lamb forever, Jesus Christ is oar Re-deem-er! Hallelujah! Hal • !e - lu - jah! Halle lu -jab, Praise yo the Lottf;
210
FUNERAL THOUGHT.
C. M.
SMITH.
Hark! from the tombs, a dole-ful sound, My ears at - tend the cry; Ye liv ■ ing men, Come view the ground, Where yon must shortly lie.
UXBRIDGE.
L. M.
At anchor laid, re-mote from home, Toil - in" I cry, sweet Spir - it come; Ce - le3 - tial breeze.no Ion ger stay, Dut swell my sails and speed my way.
—ft—
Ef=E£i3E
SBSS^S^^iBSSSI
ELLENTHORPE. L. M.
LIN LEY.
211
Ifcff-*
I
Say, how may earth and liear'n unite? And how shall man with angels join ? What link harmonious may he found, Discordant na-turcs to com - bine.
Loud swell the pealing organ's notes! Breathe forth your souls in raptures high! In praises men with an-pels join; — Mu-gic s the langu?ge of the sky.
MORTALITY. L. M.
rS .
Show pity Lord, O Lord forgive, Let a re - pent - ing reb-ellive; Are not thy mercies large and free, May not a sinner trust in thee, May not a sin-ner trust in thee.
Inst,
o~
212
PRAISE. 3. 8. 6.
° w w I I III H
O could we speak the matchless worth, O could we sound theglo-ries forth, Which in our Sa-viour shines, We'd soar and touch the heavenly strings, And
vie with Gabriel while he sings, In notes almost di-vine; We'd soar and touch the heavenly strings, And vie with Gabriel while he sings, In notes, &c.
In notes almost di
REUBEN. S. M.
213
ie^B^i^^iHi^pgsspiHisi
-*-i*iirr#-cz_i: — r — I 1 — I — + — + tiM^+b-LtP
Not^l the blood of beast* On Je-» altars slain, On Jewish altars slain, Could give the gailty conscience peace,Could give the guilty conscience peace,Or wash away the sta.n.
HINSBURY.
C. M.
^IllSlSiPili^ti^ifePfSPSS^
a
V
,Pm9i-
«5^ .— * '-• *— -P*-T ~— T. . — :.: X~.~ ,?'■„,—: „" .7^„r™0rM..lt.,ThrnnahnW*dp(mier'sblood.ThrouEh a Redeemer's blood.
*s
'Hli . to»".'.l~- cedTy^^^rghe'trh^ughtsTSIp^donlTikeT Gbd? He will forgive yo'ur nu^nerou^.ts.Through a Kedeemer's blood.Through a Redeemer's blood.
:*l C:tip~Ptk3pIp-Prp -U-iP-^^T.a-Ci-t-l— U.t-t-I| 1| J-- "wgbiood.Througta a Redeemer s blood.
of the sky Con • spii
to raise the sound, Con - spire
to raise the sound, to
raise the sound.
MONMOUTH NEW.
L. M.
215
O no till life it - • self do • part His name shall cheer and warm my heart, His name shall cheer and warm my heart,
L-b_«_«_J -«5J__£.I p*-P^> 4--lJ--'--I-p_*_C.-Ip-P- 1 — J-U juu — i — l- 4-j — l I-U i_p — i — t_p_ Jl
And lisp - ing this from earth, I'll rise and join the cho - ras in the ikies, Join the
eho ■ rui
the skies.
^- lgitra
216
ASCENSION. C. M.
SiSil^SaiSiiisIliiiiliSiii^l
— "Ii 1 rT-*~ffT-iv-^i»ar T t :
fztrszizi^zzlzzj-zU — z_zi, — zK_#iz*jiZ£:pa^zizj5*»_~ZT^zzzzizzz*z:rz*:z:s:i:£zrz~zr^zzrzr — izzz^zve
O for a thousand tongues to sing JUy dear Re-deem-er's praise, My dear Re - deem-er's praise, Tlie glo-ries of my God and
to-1— e— *■•— to-
King, The glo - ries of my God and King
WT'wt
The triumphs of his grace, The triumphs of his grace, The triumphs of his grace.
^^^iBJ^iilSig^Pilillllliillifli
The glo-ries of my God and King, The triumphs of his grace,
The triumphs of his grace-
PARIS. L. M.
BILLINGS.
217
^z^zrxiiszEiIJ'iiMj^-iPFa:1^-1!— +z3~ — :5:{r-F2»T^:{PIsl5T=;:::zi=s-££^©z^Z!z: i Ii-1-Ht-Hit — -«-
Mif g:EEpi|lz^z5H rzz'P [ ;E|Pr5z?FEzEE? I tz^"r:-:! pzMi5===* iz"|±zzz» j .zzipzazs ; FfpTp-n
if- V^P^PZ-Pl—l—p -Plpz;; t:zlzzzrft-fzizzzizi-:^z-I"z^--zziz-F-^-Eih::zt-^ZLE:3^
sasiiiifiiiiiifi^i=iiiiiijikiii:i:iiii|ji
St. PETER'S. L. M.
-ZiZZZilZIZSE--1
— ^t- fca i — (-J
' =?z^|=zz-SJ=-~f~^l
[28] "
218
PLAINFIELD. C. M.
Moderate.
KIMBALL.
Soft.
:gzn:=z5zr:
Let hiin to whom we all be-long, His sov'reign right as - sert; And take up ev-'ry thankful song, And ev-'ry loving heart. H<
Loud. j <j
\
The Christian lives to Christ alone, To Christ alone he dies, To Christ a - lone he dies.
liililE-^ilili^l^igiigfflSCB^gBa
Who bo't us with a price!
justly claims us for his own,
SHERBURNE. C. M.
REED.
219
The an - gel of the Lord came down.Ai
While shepherds watched their flocks by night, All seat - ed on the ground, The an - gel of the Lord came down, And glo - ry
The angel, &c.
The angel, &c.
JS-*z 1
pzzz:
And glo ■ ry, &c. The an - gel, &c.
glo • - ry shone around, The an - gel of the Lord came down, And glo - ry shone a
shone around, And
round.
Tl,« „__„1 C,_ WO* S »_J* _]• ... c._
The angel, &c.
And glo - ry, &c.
glo • - - - ry shone around, The angel, &c.
220
KING DAVID'S ANTHEM.
»-»-©-
II fta-k:rirzzEz:iz:fczzz:zfzz;ff:^
£iirziS?Z5ZEZi
.-, ff_
Da-vid the king was grieved and moved, lie went to his chamber, his chamber and wept,
■4i-*— _z-zzjzzzzzz^z1l:z:~z — j.f-~ ©;«-t:_z_zzzi bzEzRi
And, as he went, he wept and said
EE£ FEzEezf =r
— 4bzz:zzz«?z1zb
i a
zzzzfc?:
~_z^z:
And, as he v
Piiiiiliiili
O my son!
Si
=&
i
tf|~f
:rr.zqizdz:
Ezzzzizz
zizzizzz^^izzizzizi^izziz^z^ziziizii^izqizz i:=rz:i -:;z:«i:j:-'iiz:i:z)d
z:zz]z5z*:zzltz-^z:?z±S?z:^z 5zlti:zzzzzfe2:£^i:t:=E:i £z:^:zl:t:p-.t:tii:=3f
Would to Heaven, &c
4tzzzrff:zsr:azizz:z:zzizz:z:zzizzzzzzzi:zz:z=zi2z::5z:zza?z:*z*;iz5zz^zi:^z^
O my son! Would to heaven I had died, Would.J^ For thee, O Ab -sa-Iom my son, my son.
ANTHEM FROM PSALM 40th.
221
Verse Treble § Bass.
■ 33
j_^:J — 3—'
^SBH^S^^S
Andante.
>_^ =_
I wait - ed pa - lient - ly
b 1- — I -I — «- '•.-■»t—d— r
zzf: :ZLmZjfZ$::
^^[^=^|f^^j^fff^=^=^=
7
I wait - ed pa - tient-Iy for the Lord, for the Lord, and he in - clin - ed un to me and heard my calling.
222
ANTHEM. Continued.
I wait-ed pa-tient-ly, I waited patient-ly for the Lord, and he inclined his ear un-to me and heard my calling, And he hath put a new
JSL. .9..
:--^zzt=tzE— Eznt:?^F**:;id--l-^: "
:z\i-ii:
:it:ptLi-i:
IBW^lSSSSinSe
song in mjr mouth, ev'n a thanksgiving, ev'n a thanksgiving, ev'n a thanksgiving unto our God.
=z:i=z?=i:I=gzzifzz"zz±zz:"iz=iEzEzzI^:E:?I:tzEzEI^^
i i
-8- -j- -ji-
ANTHEM. Continued.
223
Chorus Largo.
_ _--_ T — — X.. i ■ »\^/,-l-— ■——■—.— 1 _____.__- A--— — - — — -_ — .— _-L-— « _—-■*.-—-- -— • — -_ ._,— — - -X_ — — .U->~~--->--L.______-.L--__ __-___. L-L__ _,____•__
Blessed, Blessed, Blessed, Blessed is the man, Blessed is the man, Blessed is the man that hath set his hope, his hope in the Lord,
which thou hast done.
Lord, O Lord my God, Great, Great, Great, Great are the wondrous works which thou hast done, whic
Gre«t, *•. Great, &c.
which, &e.
224
ANTHEM. Continued.
=±==js=
Great are the won - drous work*,
Great are the won - drous works,
l
i
thou hast done,
Great are the wondrous works,
Great are the v\ ore - drous
zzpz:
3)?=3EEzEIi
zfEiE^feiEfzEuzE tr±EE
0 — t*-
Great are the wondrous works, Greataretlie won - drous
1
Great. &.<•.. which thou, which thou hast done.
Great, &c.
which thou, which thou hast
-@ — 9. fr
works _
~ z3zzzp:zr£z:
zizczziE: -
Great, &c.
which thou, which thou liast done.
works,
Great, &c.
ANTHEM. Continued.
225
Recit. Tenor.
If I should de-clare them and speak of them, they would be more, more, more than I am a-ble to ex-press.
tzz=zza=zzi:
izzzzzz pzrz
; T 1 *" — |~i ^T~ -qTS~q~<5-P~T
Solo Bass.
3 • « * .^. • _^_ 1 have not kept back thy loving met-cy and truth from the great congre-
zz::z?zzz=z^::zi::tz«z3z5tzzzzzz«i:b?z*r3:±=Z7^
ga - tion, I have not kept back thy loving mer - cy and truth from the great congre-
ga-tion
2EiE5E;
With - draw not thou thy mer - - - cy from me, With-draw not thou thy
[29]
226
ANTHEM. Continued.
<^tr
?EslEllEEilllIliyi||lsl^li[
mer - - - - cy from me, O Lord let thy lov - - ing kind-ness and thy
truth,
• ft*- A
rivf^P-f-p p r i* » tizhj fit p f -• r-f^F^r^^ r-p * — r — p — :-iri — ~t~z3
^*V"- > ^7 ~ fZ S I ZJ » ~i ~~^
Chorus Vivace. p
s
Let all those that seek tliee be joy - ful and glad, be joy - ful and glad, be
ft-
Let all those that seek thee be joyful and glad, Let all those that seek thee be joy - ful and glad, be joy - ful and glad, be
bo jojfr'j
ANTHEM. Continued.
227
joy - ful and glad,
Be joy - ful, Be, Sec.
A- -A- -&-- -ft-
Be. &c. Be, &c. utd
i — — , Fa«-FR- . 4- — • — -
$ 0- »_•_*. p_.*..ft . «_.p_.p. Qi :»_ P-- f- r- — •— E"r-P m— E"iEft*PBii *— I"" •
be, &c. be, &c. be,&c. be, &c.
be, &c.
be, &c.
iriiiliplpiliii^liiiiiipii^llililii
y h #-- 1 — - -
And let such us love thy sal • va-lion, Let, &c. say
5, And, &c. Let, &c. say
SSE5I:|z3:SjJz^^
-gh-
Glad, be glad in thee, And, &c
228
#--i-
,"?:
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/
fa£
ANTHEM. Continued.
— r-T-P —
" " ""ipiiiiiiiiiii:
- — r- pr-» ZZ*~*'
al - ways the Lord he praised, the Lord be praised, let all them that seek thee be joy - ful and glad,
/7\
and let
Voice. ^
If:
Adagio.
2^-f — ~ p~p— »_ . p-j-i* — ^ — p— » — g-^f- t-'Ft ^FzC: itt^ tz "r~ tt ~~ rrp-ii
such
as love thy sal - va - tion say al - ways, the Lord be praised, the Lord be praised, the Lord be praised.
*«-. "?"-r-* «— -T-t-F *— -P-T-* * »-t— I l-r-n T"
ADORATION.
WALKER.
izfezzizzziizjz:
-4-i
?z:sz:
:zi5zzz*zz£:z£z:
Now un - to
— pi^--»-j-» — 1» — P~T~r — e — »- t --— "i-* — y — ?~y~*zi zzz:""r~-:i"-b"~"r""~*~T~P-
liim that is a - ble to keep us from fal - ling
And to pre - sent
229
m
—-•—-•--£
fault - less be - fore
the
:zfc.<izzzz_z" zAqZ».z5_iz£zz* — •-!-£ — • — *-■ T-^ — 3 f-x~«zz_.-izizf» — z*_iza — .zz^zi-*- s — ~z:
izzSz^zz^z'EzTZ^zzzt'zizEzzEzzpzlzEzz. zziLzzz^zzizzfzti^zz^iz^ztzzzzEzzzzzizzzz^zzfzizzz^zzEz:
teezzzzz
1 r _ ff" s _s _p ._
Bj"fe^"3zz3r^-&z^";^ ;-:
^- s Slow.
zzzc-z;_rr^~htzEz-z?:zfGi=-E=zztt
© •
— *-*.
zz*z*z*izpzp:zzzz::Tz=::E::zzzzzf :i::jz::zrzpzpzz ?zp»zz£zz:z?zizz-zz?ziz?zz?zz£ziz?:
pres - enceofhis glo-ry with ex - - ceed - - ing joy, To the on - ly wise God our Sav-iour the on
Iv wise
igi^^gg^^^|E^g^^^^^^^=^g^^:gEpaEj
35cBP
230
ADORATION. Continued.
zh:
:k--
m
z£zz?-z<>i
t> — p.
^lliifyiiiyi^lllill^i|iiiyi^E?Eil^iii^=
:zh:
3££
zrzz:
:-fc:
-5—
God
izzz;::
^
:ris:
•zzs:
maj - es
our Sa - viour, Re glo - ry and maj-esty do - min - ion and pow'r bolh now and ev-er, A - men Be glo-ry and
Vivace. p
:=b:
ty do - - min - ion and pow'r both now and
r ™
er, A
men,
mi'ii, A -
abfa
==e=£=£=£z
EzzfzS=?E*E|E|=t=EE^EpE|=?EE
— J C- — ^ — » —
— v — h-
ez?:
m
DOXOLOGY. " Praise God from whom all blessings flow."
231
-rfc
Praise God from whom all bless - ings flow, Praise him all crea-tures here below, Praise him above, Praise, &c.
Praise, &c. Praise him above,
II
rrirrP^zzirETFrriEPiP^
■•]
■H
above, Praise, &c.
Praise Faiher, Son, Praise Father, Son, Praise Fa - ther, Son, and Ho - ly Ghost, Praise Father
Piaise him, &c. Praise, &c.
Pra.se, &c.
1U
:=to:=-
DOXOLOGY. Continued.
mwmmmwmmwmmMmmmBmi&im
-»-© |»-p_P- -p- -*_P_Q. .pi ,^-s ©_«_» -
-fr-p t- •-©-f-iF — f— i F-F~t ~F ^ie_Pr_&~"'ti — ti ~iP*9i^-i?i*-9i* ••©•-•,-• » i^--iF-r-Fi?— »t
and Holy Ghost, IVaine &<\
«I5:-i5Z*ff
Praise, &c.
Hal-le lu-jah, llul-le-lujuh, Hal-lclu-jah, Amen, A
*;fe
men, Hal-le-lu-jah, Hallelujah, llal-le-lu-jah, Halle-lu-jaK, Hal-lelujah,
Amen, IJal-le-lu-jah Amen, Hallelujah, Amen-
^Hal-le-lu-jah, Hal-le-lu-jah, Hallelujah. Amen,
rfj
DOXOLOGV.
233
is:
=»•---.
sSz^zBz^r'gZTbzz^zrzz!:
To Fatli-er, Son, and II
£iIE*i=H:iiIEiE£zzl.
P_-^ztzfzzztzzz-ztzzt:
itz^iz-^-Z— t_t— i^z
H:~2r-t-»-51l-?rz?;I=EftE::3-f-£-::?::::
ev - - - - er - more.
glo - ry ev - er - more
— v-;* — v— vt — T-yr pr *rj — ■ -i
- ; ., „„a „u„u k„ „.. „,.
-f^Fi— 5:tz«z==z)zz:jzzzf=»=i:r-z=:z-z:*zizffz#zz=jzi=«_»z~=l=zqz=i
:iEf^SzfzEz=zj:rfc*TE=rf^^
p to
Be, &c. Be glo - ry ;is it was, is now, and shall be ev - er - more.
Be glo - - - ry now and e? - er - more.
iziz(*zzizz*ij^ziz~zzzzi:
yzEzz-zzt=zzir?zz?zi:
' Be glo - - - ry now and e? - er -
Be, &c. "" &, &c.
3f
234
ANTHEM FOR EASTER.
Hal • le - lu - jah. Tho Lord is ris'n in - deed, Hal - le - - la - - jah.
izzi9.ixz»—*it±^zBL—Bz—^iz-—-ZTzzz
The Lord is ris'n in - deed.
-*,*-T-
■a •— m-
^~T~zt — ~ r~T~~ t — T~r~r — ;~ — t T~l~"j~z — »—r~P—[b:-^~^::*Tp -*~»t ^~g ]*::»-?— j^-yyp-g-
Now is Christ risen from the dead, And become the first fruits of them that slept.
m^^^^m^^^^Mimmw^
Now is Christ risen from the dead, and beeoine the first fruits of them that slept,
ANTHEM. Continued.
235
*M=«= zi— i- ?T-~ rt
Hal-le- lu-jah,
And did be rise, And did he rise,
fc=EK
»_g _^_ _ _ . p. nc .2: :^:zr :e: cz__p. alte
Hal-le - lu-jah, Hal-le - lu - jah,
And did he rise, did he rise, Hear O ye nations,
^^^^^g^^^^pg^^g^g
And did he rise,
And did he rise,
^^|p^5|S|g^^i^g|^|^E|g^|EQ^|^^g|g^|gj
v£-g~
Hear it O ye dead,
He rose, He rose, he hurst the bars of death. He burst the bars of death, He burst, &c and triumphed o'er the grave,
Then
I
£zzV:p;$5ii:p:i:zzizzzirz-iizpiz*zzz*i*:*:»~^
He rose, He rose, He burst, &c. He burst the bars of deatk,
He roes, He roes,
2SG
ANTHEM. Continued.
c. And seized e -tcr-nal youth,
Theu I rose,
Then, &c.
IEK&EK
Then, then I rose,
iirzzzi tibfcrfc
Then I rose, Then I rose, Then first humanity triumphant passed the chrystal ports of light, And seized eternal youth,
Then, &c. Then first, &.C. And, &c.
5:!;?:?iiIE^Eii:E{E?IEH 6K lipfclSf E£K£&E ?H££S?EpEKfE§=£ I iSgj 3|
^zzzzzzbzziztzzr^kbitzbzzzjzT t:i^fr!fz:zi:z:itz:L:zt:jz:ib ^ *\?rj?.'*:il\* £:£ ^i?f;^:^:^rztzziHzbzz?'i p:pis.j a:l
.-_#^ ._,._^_dt--..— „^*.,
#f^r:zr:p:is:ff:^..sipzzipzri:ffz*z*iu*:^ipi^i:^:i:zzzz=izzzi:zzz=
§zzz:zf:E:1e £ e ^lEztizzzT-bfezistz: -^
]Man all immortal hail, hail Ileav'n all lavish of strange gifts to men, Thine all the glory, man's the boundless bliss, Thine all the glory, man's the boundless bliss.
lllllIliiiifi^^fi|li!il^^:i^Sgi|^I
E5fc=:
^ x
J. KENT.
237
ANTHEM. " Hear my prayer O God."
gg-— ~'Z,'rzi~:>'id"~rz> z! — "^izizj — *" j — ^i"]-"] — iizl-zrzt — i r — I — fczl — vi~:J~z1 "'inr-l — ,-»
First Treble. Syrn.
"#o
Second Treble.
-#;
b^gzZZZOZzJ
Organ Bass.
58 6
d
—ei ©-
hear, hear my pray'r, my pray'r, O
:zdzz!?:d: !iz)zztzz!z->:z!z:
— S — ' hrr- ' ,T T ' HrHHri t *— ' t r •■
Hear, hear my pray'r, hear, hear my pray'r, my pray'r, O
P-e-mS-P-
l|pg^:^:^Eg|^S^g^E^^^E^Ep|5EEE^fte|^3
»%OT.
— Si-' k*-i ^
God
Hear, hear my pray'r, my pray'r, O
d -©• -d- -oz|: -^ w £- • ^-*s_
U°d TTonr !,„.,■. „... >. 1 1 >- , y-v
233
ANTHEM. Continued.
Sym. Sym.
God, and hide not, hide not thyself from my pe-ti lion!
Hear my pray'r, hear my pray'r, O
__© t3_#:y^_J_*_t9::_l §f^:diL.^:d_dt§_i:Ji_^j_^_«_f|::i_3T3?g_ — i_:cLiJd§ E
-0- (j -w'
And hide, &c.
^E^^E^^^^^=ix^S^l^^^i§.:Ei^^l
God, hear my pray'r, O God, and hide not thy - self, and hide not thy - self, and hide not thy - self from my pe - ti - tion.
■/"^y- _ — — — ._ J __ — * J , __ ' -» _ »^__ . „ ,„ . — ,, . _ ^_ _^ ^ — ^_ . ml jR i. _^J ■ . J | | _ 1 | L_ _ 1 , — . ^_ m — [ i -A. - ^ _ . J. - — -— ^P ^P _ ^M _ M__ __ I ^^ ^_^^ i.w f^j — X. /"""> _ .. i _» A . ^"j f^j <• _ i B,.
:zza~:
ANTHEM. Continued.
239
Solo. Sym. Sym.
Andante.
g^ — :— iS=£p=-* — F t-t-i-t-^zpz^ i-i — tfc-t-M----"3 ^f_p_^r'tE — i:_t — b — ifc — I — i-; — i zzc
Take heed onto me and hear me,
— i
Take heed un - to me and hear me, Take, &c
at
&t
How I mourn, how 1 mourn, how I mourn in my
— _ Jf Jflft,,
^i@gS@^^BSSSi§ii
.'ill
ANTHEM. Continued.
If
lii=i|fIlEiP^fi;ii^^ilp|2lipiliililllil|i^l
pray'r, and am vexed how I mourn, I mourn in my pray'r, I mourn in my pray'r, and am vexed,
how I mourn, mourn in my
-*- -£-_«._:t:^
ES
E^».,fc__. :.,_1__„_.s,._.:»-»i.. £&£:!!:
S^liliilIii^iiiiiiiJi^i^iii&M#:
^111111^=:
Si/m.
zzzz^zzzizz^zzzzzzjTihzjzzzb
^iizzzz — z C3 '~~T^ T ~ i~
ZZZZZZ ZZZZZ^ZSZ^^-I11*11
pray'r, I mourn, &c.
^_?_* m SL: s
ZSj_ — i r. ZZ|
*<*
izzzzazz
. !Ezz^zg=gE^zEzgr»z|zgEz^zEdzf
i — ■©-
:^^z-zztziiZz?zpz?z4sz-z?zz:
;*=;:=>
ANTHEM. Continued.
241
Recitative.
1
My heart is dis - qui-et-ed within me, my heart, my heart is dis-qui-et- ed within me, and the fear of death is fall'n, is fall'n up - on me;
~^Iezt;I^3:::"^E:-z:i"i®~3:f:l~j
-e- -d-
Then I said, then I said, I said, O that I had
-Hl
:§=d:±3-3-^f3-H-- -z%
©-©■»•©
r^ztrzzi
{
p;?p°E|;5Ei.:|5E|ESfP^ii:p5
_P . , __ _ . ,_
— O
[31]
242
ANTHEM. Continued.
■\Yjngs, O that I had wings like a dove, O that I had wings, had wings like a dove,
Then would I flee
m
way, then would I flee a - way and ho at rest, flee a - way, and be at rest.
ANTHEM. Continued.
243
Treble. Chorus.
n'_ftSr*s
:(3fc=fc==+=-=+s-=-
®zi:fezszt*f®=Qi*— SzzJ=Wi©;;EzPi^2z3t^zz=Qi:=:=zz|z?=§z|zz^:=?rzi3ziz:°^-f
O that I had wings, had wings like a dove, Then would I flee a-way and be at
Counter.
rest,
would
flee
:zg:
— f-
Tenor.
2d. Treble.
Bzz==3:§
O that I had wings, had wings like a dove, Then would 1 flee a-way,
ings, had wings like a dove, Then would 1 flee a-way, Then would I flee a • way would flee a-
Orq.
-K
$
izizlBlEEEz
way, and be
at rest, then would I flee a - - way,
would flee a-way, and be at rest,
E^yEzJz^^^^^S^SE^^^fe^^^1^^^^!^^^^
iazz_a
m. g
Then would I flee a - way Would, &c.
r«rt-# ^-*-®rP-»-'e-:F-h:pTF: t — I 9--»-tm * — t-(9 :F: P-tP-H-iSt tP-P — 4 r
244 Treble Chorus.
ANTHEM. Continued.
izszr^zszg
Then would I flee a - way
and
be
at rest, flee a - way and be at rest, then would I flee a - way and
•*-**
, -£=:
:5zt5:zz==zizz:zzzzpi^z~Z-zzzaZtrrrazzzzzz n=J=====£F-Ja:gP— =P2f=D--i=I==::::::— -ps111^^^
would flee a ■ way and be at rest,
Then would I flee a - way
_5z^:---— izzzzv — I--—- pi.d-dq.dz^F: — Q e-}-"-3fn d-|-3-=»-*-i i:f«:tft«^:P
zzzz:zzzzz:tzzz:zzzztzzzz=zz:zz:pii?z*zidi«:?tzz:zzz3zzzpzi©:3l-?z=zz_zti_z^zcz;iz=
Then would I flee a
way, a • way and be at rest be at rest, then would I flee a-
-^-^•r Q — p...
a^^^^^^^=^^g^^g^ggg^g=g=g^|
Then would 1 flee a - way and be at rest, be at rest, then would I flee a-
be at rest, would 1 flee a - way, flee a — way, then would I flee a - way would flee a - way and be at rest.*
would I flee a • way would flee a - way and be at rest would flee a - way and be at rest.
jj.
way,
then would I flee a - way flee a - . way and be
at rest
and be at rest be at rest.
ss^ l =Mm^=^tmmmM^0.\
would I flee a - wny, and
at rest would flee a • • way and be at rest-
DYING CHRISTIAN. P. M. 7s, 8s & 6s.
245
^^M^Sffl^^B^^
Largo, mp fr P f
i
i
Vi-tal spark of heav'nly flame, Quit.O Quit this mor-tal frame, Trembling, hop - ing ling'ring, fly - ing, O the pain the bliss of dy-ing,
felg5||Sl!iyaSiiI:aiiiliiiiiHIiiipjli;i
f)
iv i Jlffelluoso.
f i r m ^n •
^g^^s^^g^^^^q^^^^^^^^^^l
V
-us:
Hark!
V
iz±zd
Hark! they whis - per,
feSF
p^gbi&^iii^iiiS^l^ligiii
Cease, fond na-ture, cease thy strife, And let me lan-guish in -to life.
Hark! they whis - per, an - gels say, they whis - per.
246
DYING CHRISTIAN. Continued.
? ft p
SsHiffl^nffi
An - gels say, they whis - per an - gels say, Hark, &c.
t I
/
-rr
l^l^lif=?=lE?Elllli;iliii^p!liili|ili§j|iiifi|iiE
An - gels say,
1
Hark! Hark! they whis - per an -gels say, Sis- ter spirit come a - way, Sis-ter spir - it cornea
arftofc=xfc=r;
way.
i|ES=Jf?£JgEfg^
Hark, &.C.
Hark, &c
fS-n — ttv *cj*TT--j — -p-r — ^i"-1 — i~h — Ht-h — ii-'^ — ii — -i~i — ^i^-'rr*"] — i — ST~n — iVn— k- *n
Bll^:^E£?:fgJ^p^|PE|feprrE|i§=SiEii|^fgfe
I ^ — ■ ■ ©- - —
ii
si
._ /
^ — —i — 3--> _., 9
^¥•--^^4^-®-
I h, — l J U mI — * L>! — - ULiL! LI--1 x\ &!■■"■' — ba i—L-..^_J. lJ^._.B_a_J.
~s»-e>-
Sfe&
What is this absorbs mo quite, Steals my sens - es, shuts my sight, Drowns my spir - it, draws my breath, Tell me my soul, can this be
m
llllillilll
/
=-iJEEz-zgzIE-?;^zl?^f:llEti
death, Tell me my soul, can this be death, The
If:
I 1 I
^"iiiili^^l^^^^^
Vivace, f i
T on,J 1 j . - »" i^ 1^ ^ E? . u.<tipr«ia tl
Lend, lend your wings, I mount, I
j where ia thy stiyg,
By> O grave where is thy Vic-to-ry, O grave ^crc is thy Vic-to-ry, O^
— t*- •■— »""i-*:zfc--^»— J:---™ — .iA
^--t- _1 »•» --..-.- -1*-*-€-r-:zizr=^=r--— —
Eb-zk"!?— ^-•-i^-s~»-tt-i~s~*-r'-"jP-i»-r*-» ^-^-(*-» — - — z-*-t — rzz_~---j-Jr— i — i^ziiz:?:
&
— *— » ir ii i. — '
iP-'r— I
^
ic-to-ry, O grave where is thy victory, thy victo-ry, O
e-v
ff^rpzffzgE
iUfh where is thy atV , ,' . . . A ■,.„„ ihv victory And where O death, O death thy itmg.
1 * end, lend your wings, I me,,, \ fly, O grave where is thy victory, thy victoiy nnu
■h — i-4»~~^r5:---]— j- — en.*-*-— r- — t^~ :~_i!^-3+-©lT
m&
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